Головна » 2009 » Жовтень » 13 » Bach - Cello Suites Nos. 1-6 - Pablo Casals (restored for Naxos by W. Marston)
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Bach - Cello Suites Nos. 1-6 - Pablo Casals (restored for Naxos by W. Marston)
Bach - Cello Suites Nos. 1-6 - Pablo Casals (restored for Naxos by W. Marston)
APE & MP3 + CUE + LOG | TT 148:47 | Artwork @ 300dpi (19 mb) APE = 324 mb | MP3 (lame --preset standard) = 114 mb Recorded 1929-39 | Released 2000
"[...] With Naxos's new remastering from audio producer Ward Marston, this bargain-priced recording makes a vast improvement on EMI's more expensive version of these exact same recordings (and a subtle improvement over Pearl's even pricier remastering). Here, you can finally turn up the stereo and get the full sonic depth of these recordings without fatiguing your ears from a ton of surface noise. Instead, you simply get lost in Casals's flowing, passionate playing and impeccable tone. This has always been a landmark recording and it's never sounded better than this." (Amazon.com essential recording)
Important note: Difference between the Naxos and EMI editions: - extra tracks - improved restoration by Ward Marston
Personnel: Pablo Casals: cello
Recording: 1929-39 - Paris, London, Camden NJ, Barcelona
Review:
(...) There are at least two aspects in which this newcomer improves on these performances' previous incarnations. First, Marston manages to convey a genuine sense of the acoustic ambience of the rooms in which the recordings were made. This in turn permits Casals' tone to bloom and emerge from the speakers with unforced naturalness. Second (and this may also be a function of the first quality), he has captured the maximum dynamic range with exceptional sensitivity. The first two movements of the Second Suite illustrate this perfectly: the quiet, sweetly tragic opening of the Prélude now avoids any suspicion of attenuated thinness, while the imperious crunch of lower strings that launches the Allemande has a richness and resonance that makes all the difference in determining whether we are listening to a musical instrument or a cow in distress. In sum, Marston's work allows these interpretations to sound better focused, more colorful, and above all more sensitive than ever before. The additional items, five charming Bach transcriptions of slightly differing sonic (and musical) quality, are just as lovingly restored and make a welcome bonus.
Now obviously not all listeners will find these recordings to be the revelation that I did. Much depends on individual factors such as quality of sound equipment, the acoustic space involved, hearing sensitivity, and most particularly, on what elements produce a feeling of aural fatigue over time. In an effort to retain as much of the full frequency range of Casals' cello as possible, Marston leaves a good bit of recording surface noise. I find that the ear adjusts very quickly, and moreover that the naturalness of tone thus preserved is far less grating than EMI's more silent background and consequently far more steely and dry cello sound. At least at Naxos' prices, it won't cost you much to discover whether or not you agree. (ClassicsToday)
Tracks: CD 1 1. Cello Suite no. 1 in G major, BWV 1007: I. Prélude 2. Cello Suite no. 1 in G major, BWV 1007: II. Allemande 3. Cello Suite no. 1 in G major, BWV 1007: III. Courante 4. Cello Suite no. 1 in G major, BWV 1007: IV. Sarabande 5. Cello Suite no. 1 in G major, BWV 1007: V. Menuets I and II 6. Cello Suite no. 1 in G major, BWV 1007: VI. Gigue 7. Cello Suite no. 2 in D minor, BWV 1008: I. Prélude 8. Cello Suite no. 2 in D minor, BWV 1008: II. Allemande 9. Cello Suite no. 2 in D minor, BWV 1008: III. Courante 10. Cello Suite no. 2 in D minor, BWV 1008: IV. Sarabande 11. Cello Suite no. 2 in D minor, BWV 1008: V. Menuets I and II 12. Cello Suite no. 2 in D minor, BWV 1008: VI. Gigue 13. Cello Suite no. 3 in C major, BWV 1009: I. Prélude 14. Cello Suite no. 3 in C major, BWV 1009: II. Allemande 15. Cello Suite no. 3 in C major, BWV 1009: III. Courante 16. Cello Suite no. 3 in C major, BWV 1009: IV. Sarabande 17. Cello Suite no. 3 in C major, BWV 1009: V. Bourrees I and II 18. Cello Suite no. 3 in C major, BWV 1009: VI. Gigue 19. Cello Suite no. 4 in E flat major, BWV 1010: I. Prélude 20. Cello Suite no. 4 in E flat major, BWV 1010: II. Allemande 21. Cello Suite no. 4 in E flat major, BWV 1010: III. Courante 22. Cello Suite no. 4 in E flat major, BWV 1010: IV. Sarabande 23. Cello Suite no. 4 in E flat major, BWV 1010: V. Bourrees I and II 24. Cello Suite no. 4 in E flat major, BWV 1010: VI. Gigue
CD 2 1. Cello Suite No. 5 in C minor, BWV 1011: I. Prélude 2. Cello Suite No. 5 in C minor, BWV 1011: II. Allemande 3. Cello Suite No. 5 in C minor, BWV 1011: III. Courante 4. Cello Suite No. 5 in C minor, BWV 1011: IV. Sarabande 5. Cello Suite No. 5 in C minor, BWV 1011: V. Gavottes I and II 6. Cello Suite No. 5 in C minor, BWV 1011: VI. Gigue 7. Cello Suite No. 6 in D major, BWV 1012: I. Prélude 8. Cello Suite No. 6 in D major, BWV 1012: II. Allemande 9. Cello Suite No. 6 in D major, BWV 1012: III. Courante 10. Cello Suite No. 6 in D major, BWV 1012: IV. Sarabande 11. Cello Suite No. 6 in D major, BWV 1012: V. Gavottes I and II 12. Cello Suite No. 6 in D major, BWV 1012: VI. Gigue 13. Adagio in A minor from Toccata, Adagio and Fugue in C major, BWV 564 14. Musette (Gavottes I and II from English Suite No. 6 in D major, BWV 811) 15. Komm, Süsser Tod, BWV 478 16. Andante from Sonata No. 2 for unaccompanied violin, BWV 1003 17. Air from Suite No. 3 in D, BWV 1068