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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


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