He has given the listener something new, and indeed something outstandingly good. Isserlis has based his interpretation on a combination of the earliest four surviving manuscripts, drawing mostly from the Anna Magdalena copy.
He also provides a scholarly treat at the end of the suites — three extra recordings of the first Prelude, played from the earliest three copies in turn. It is a fascinating insight into the variations of tempo, bowing, and ornamentation presented to each cellist as they decide upon their own interpretation. Whether you agree with this theory or not, it is an interesting take which probably merits further research. So different are these long, static chords to anything in any of the other suites, usual practise is to assume they are broken chords.
Isserlis, however, has decided to play them as they are written, believing them to represent the Five Wounds of Christ. Unusual as the decision is, it does work. The fact that these are dances is never forgotten, and there are none of the self-indulgent rubatos that characterise some recordings.
Dances such as the Menuet from Suite No. However, they always retain a courtly feel rather than tipping over into country-dance bounciness, as can so often happen. For the sixth suite, in the interests of sonority, Isserlis has opted to play his four-string cello rather than the five-stringed model the suite may have been originally written for.
Despite the extra position work this decision meant, the technical pressure is never heard, leaving the listener free to be caught up in the emotional, joyful music. This recording can sit proudly on the shelf alongside the great recordings of Casals and Rostropovich.
In fact, I may find myself picking it up as the favourite. This work is licensed under a Creative Commons Licence. If you choose to use this review on your site please link back to this page.
Recognized for his stylistic versatility and wide-ranging musical interests, Australian cellist Richard Narroway has proven himself to be equally at home with repertoire both new and old. Apple Music.
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You can download and read online Sarabande in B-flat Major, No. 6 from Twenty Four Preludes file PDF Book only if you are registered here. And also you can. no. 6: Allemande and Gigue. Little Preludes and Fugues: Prelude and Fugue in D 24 in b minor, BWV Partita no. 1 in B flat major (Prelude, Sarabande.
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Allemande 3. Courante 4.
The first minuet contains demanding chord shiftings and string crossings. Rheinlegendchen 5. Franz Schubert - It begins with a slow, emotional movement that explores the deep range of the cello. Lieder ohne Worte, Op. For Piano CD 3: Piano Masterworks.
Sarabande 5. Menuet I-II 6.
Allemande 9. Courante Sarabande Allemande Gavotte I-II Gigue PDF Booklet.
His approach is contemporary, I believe, attempting to present the music in a clear and concise way, bridging the divide between the more romantic style of the mid-twentieth century with a historically-informed approach that today is as amply found in the catalogs of recordings. Donald Rosenberg, Gramophone Narroway has a lovely rich sound that never overwhelms, with beautiful phrasing and a fine rhythmic sense that is given room to breathe and expand. Paul Ballam-Cross, Limelight The double CD SLE by Sono Luminus is not merely another one among dozens of recordings of these works, but a very fine debut by an immensely gifted young musician soon fit to keep company with some of the greats that preceded him.
He manages, as all successful practitioners of this music must, to beguile us… Greg Hettmansberger, What Greg Says …dusky…inventive and tasteful…worth investigating for so many reason.