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J.S. Bach - Cello Suites

Rachel Podger, violin

Rachel Podger

Johann Sebastian Bach

SKU: 41119

Year of release: 2019

Cello Suite No.1 in G Major, BWV1007 - transcribed by R. Podger (D Major) 00:00
1. I. Prelude Johann Sebastian Bach
2. II. Allemande Johann Sebastian Bach
3. III. Courante Johann Sebastian Bach
4. IV. Sarabande Johann Sebastian Bach
5. V. Menuet 1 & 2 Johann Sebastian Bach
6. VI. Gigue Johann Sebastian Bach
Cello Suite No.2 in D minor, BWV1008 - transcribed by R. Podger (A minor) 00:00
7. I. Prelude Johann Sebastian Bach
8. II. Allemande Johann Sebastian Bach
9. III. Courante Johann Sebastian Bach
10. IV. Sarabande Johann Sebastian Bach
11. V. Menuet 1 & 2 Johann Sebastian Bach
12. VI. Gigue Johann Sebastian Bach
Cello Suite No.3 in C Major, BWV1009 - transcribed by R. Podger (G Major) 00:00
13. I. Prelude Johann Sebastian Bach
14. II. Allemande Johann Sebastian Bach
15. III. Courante Johann Sebastian Bach
16. IV. Sarabande Johann Sebastian Bach
17. V. Bourrée Johann Sebastian Bach
18. VI. Gigue Johann Sebastian Bach
Cello Suite No.4 in E Flat Major, BWV1010 - transcribed by R. Podger (B Flat Major) 00:00
19. I. Prelude Johann Sebastian Bach
20. II. Allemande Johann Sebastian Bach
21. III. Courante Johann Sebastian Bach
22. IV. Sarabande Johann Sebastian Bach
23. V. Bourrée Johann Sebastian Bach
24. VI. Gigue Johann Sebastian Bach
Cello Suite No.5 in C minor, BWV1011 - transcribed by R. Podger (G minor) 00:00
25. I. Prelude Johann Sebastian Bach
26. II. Allemande Johann Sebastian Bach
27. III. Courante Johann Sebastian Bach
28. IV. Sarabande Johann Sebastian Bach
29. V. Gavotte 1 & 2 Johann Sebastian Bach
30. VI. Gigue Johann Sebastian Bach
Cello Suite No.6 in D Major, BWV1012 00:00
31. I. Prelude Johann Sebastian Bach
32. II. Allemande Johann Sebastian Bach
33. III. Courante Johann Sebastian Bach
34. IV. Sarabande Johann Sebastian Bach
35. V. Gavotte 1 & 2 Johann Sebastian Bach
36. VI. Gigue Johann Sebastian Bach
Total time: 00:00

About this album

(…) Since, I have spent a fair bit of time coaching cellists, both modern
and baroque alike, and found myself playing along to demonstrate
various points I gradually could feel these pieces joining the violin
partitas and sonatas as another kind of ‘daily bread’; I started catching
myself playing some of the movements I particularly loved while
warming up, and realising that it was actually possible to play them on
the violin, and to find a special expressive vocabulary at the higher
pitch.
How could one possibly justify it, especially with works that have
peppered the recording catalogue with some of the most iconic and
adored string performances of all time, the Casals, Fourniers, Torteliers
or Starkers? But what I was doing also seemed very much in keeping
with Bach’s own habit of recycling his compositions for different
instruments and different uses. The examples are endless but I
immediately think of the concertos appearing as sinfonias in cantatas, or
concertos for violins turned into harpsichord concertos.
The more I reflect, the less I feel the need to be defensive because Bach
did far more outrageous things! Think of the Prelude of the E major
Partita for violin turned into a full orchestral cantata movement with
trumpets and drums…

– Rachel Podger (excerpt from liner notes)

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Technical Specifications

SpeakersGrimm LS1
Mastering EquimentAmplifier: Classe 5200 | Cables: Van den Hul (exclusive use of Van den Hul cables)
Mastering EngineerJared Sacks
EditingJared Sacks
CablesVan den Hul
Mixing ConsoleRens Heijnis, custom design
MicrophonesBruel & Kjaer 4006, Schoeps
Recording Notes

Rachel would like to thank Warren Day, Peter and Olwen Roberts, John and Jane Neville, and Anthony and Jo Diamond for their support.

Recording FormatDSD 256
Analog To Digital ConverterDSD Super Audio / Merging Technologies Horus­ 256FS
Recording Date2018
Recording LocationThe Angela Burgess Recital Hall at the Royal Academy of Music, London
Recording EngineerJared Sacks
ProductionJonathan Freeman-Attwood