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Product Details
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| Disc: 1 | |||
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| 1. Suite I: Prélude | |||
| 2. Suite I: Allemande | |||
| 3. Suite I: Courante | |||
| 4. Suite I: Sarabande | |||
| 5. Suite I: Menuets I & II | |||
| 6. Suite I: Gigue | |||
See all 12 tracks on this disc
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| Disc: 2 | |||
| 1. Suite III: Prélude | |||
| 2. Suite III: Allemande | |||
| 3. Suite III: Courante | |||
| 4. Suite III: Sarabande | |||
| 5. Suite III: Bourrées I & II | |||
| 6. Suite III: Gigue | |||
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See all 12 tracks on this disc
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| Disc: 3 | |||
| 1. Suite V: Prélude | |||
| 2. Suite V: Allemande | |||
| 3. Suite V: Courante | |||
| 4. Suite V: Sarabande | |||
| 5. Suite V: Gavottes I & II | |||
| 6. Suite V: Gigue | |||
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See all 12 tracks on this disc
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With this recording, Israeli-born Matt Haimovitz makes his first appearance on Oxingale Records. Previously, his six acclaimed recordings on the Deutsche Grammophon label received praise for their deep expressiveness, interpretive insight, flawless technique and burnished tone. His recording, Suites and Sonatas for Solo Cello, was awarded the Grand Prix du Disque (1991) and le Diapason d’Or (1991). Of his debut 1989 recording, Saint-Saens, Bruch, and Lalo with James Levine and the Chicago Symphony Orchestra, Gramaphone Magazine wrote, "this recording heralds the arrival of a new star in the cello firmament." For GRP Records Matt Haimovitz also recorded two improvisations with jazz bassist Rob Wasserman for the album, Trios, which features Jerry Garcia and Branford Marsalis, among others.
Matt Haimovitz’ 6 Suites for Cello Solo by J. S. Bach, complete on three compact discs, was recorded in the Plainfield Congregational Church in Plainfield, Mass. In his program note Haimovitz writes: "the 250th anniversary of Bach’s death on July 28th, 2000 inspired the schedule of the recording sessions – July 10 to 13 and August 6 to 7 of that year. I found the sanctuary of Plainfield’s historic hilltown church to be an ideal ambiance that both nurtured the ‘cello’s natural tone and allowed space for the sound to be sculpted." The recording was produced by Luna Pearl Woolf, who, as a composer herself, brought her insight into the compositional process to the production. Engineering was provided by Mark Thayer, whose 20 years of experience recording classical, jazz and acoustic folk music brings a warmth and intimacy to the final sound. The album was mastered by David Glasser, who has mastered 45 Grammy-nominated records and received a Grammy for mastering and restoration of the critically acclaimed "Anthology of American Folk Music."
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Most Helpful Customer Reviews
7 of 8 people found the following review helpful:
5.0 out of 5 stars
A Fine Pizz of Work,
By
This review is from: Bach: 6 Suites for Cello Solo / Matt Haimovitz (Audio CD)
Matt Haimovitz's recording of the Bach cello suites is not for the traditionalist. Mr. Haimovitz scales the sacred Everest of the cello repertoire blazing an unfamiliar but distinctive trail to the mountaintop. His interpretation is filled with surprise from end to end. He never plays the repeat passages the same way twice, varying tempos and applying vibrato creatively yet thoughtfully, in way that grabs your attention and then neither lets it wander off nor affronts it. Haimovitz's reading of the Bach suites may not have the transcendent quality of Yo-Yo Ma's 1997 recording on Sony, or aristocratic beauty of Pierre Fournier's 1961 recording on Polydor, or the technical wizardry of Pieter Wispelwey's 1998 baroque version on Channel Classics, but it's in a class alone for its willingness to take radical departures from the conventional boundaries of interpretation of this great work, including a pizzicato rendering of the repeat of the second minuet in Suite #2. None of the several dozens of editions of the Bach suites authorizes such an extreme break from convention for the right-hand, but since no scoring of the suites can be found in Bach's pen anyway, Haimovitz gets a pass based on artistic merit alone. He pulls it all off warmly, getting deep inside the music, and not compromising by trying to squeeze it all into the standard 2-disk format. The 65 minutes he gives to the last two suites is longer than any other version I've heard, a deeply introspective account of #5 and unusually deliberative reading of #6. It's not uncommon these days to be confronted by in-your-face stylings of the great classics of string music, typically from string soloists who delight in breaking, smart-alecky, from custom. Mr. Haimovitz has managed in this beautifully recorded interpretation to find a fresh approach to a revered body of music that remains faithful to good taste.
2 of 2 people found the following review helpful:
4.0 out of 5 stars
Fine recording of some of the greatest pieces of all time.,
This review is from: Bach: 6 Suites for Cello Solo / Matt Haimovitz (Audio CD)
A truly fine recording of some of the greatest music of all time. It is well recorded with a closely miked somewhat sonorous sound (recorded in a local church) which works for me every time on Cello recordings, though others may prefer a more clinical sound. I give it four stars only to allow for my deep affection for other recordings of these landmark pieces by other cellists such as Rostropovich, Fournier, Bylsma and Maisky. I am looking forward to hearing it live. Mr Haimovitz seems to be playing the Cello suites often in fairly unconventional settings (coffeehouses, rock clubs etc.)
6 of 8 people found the following review helpful:
5.0 out of 5 stars
Period performance need not apply,
By Daniel Graser "saxgod685" (Wappingers Falls, New York United States) - See all my reviews (REAL NAME)
This review is from: Bach: 6 Suites for Cello Solo / Matt Haimovitz (Audio CD)
The idea that the Bach cello suites should only be played on a baroque cello because this was the sound that Bach "supposedly" heard and was inspired by is not only ludicrous it is also a blind and ignorant opinion which has no basis in music history. Are you seriously telling me that the only way to hear Bach's early keyboard works is on a baroque harpsichord or organ, Mozart's horn concerti on a natural horn, Bach's orchestral works with baroque cornets and hunting horns? Have you ever actually listened to these instruments? Perhaps they contain some interest to antiquers looking for hisorical importance but certainly not to musicians looking for beautiful sounds and precise tuning. We have made advances in instrumental design in fields of material choices, tuning considerations, and accoustical manipulation and you are seriously telling me that none of these efforts are valid to the performance of music that came before them? Year after year we are subjected to recordings with horrible balance, disgusting tone, shoddy intonation and limited musicality, qualities which are supposed to be ignored, since the performance is on period instruments, an "authentic" reproduction. If we do not allow our modern efforts to aid in our instrumental design, and therefore bring new possibilities of beauty and precision to performances of new and old music then where are we to go from here? Are professional instrumentalists to own 12 different instruments to suit the nationality, time period and genre of the music they perform? There is a definite difference between preferring the sound of a baroque cello and characterizing more modern cellos as bastardizations of this design when performing music that came before them. Matt Haimovitz performs these suites with fantastic phrasing, intense emotional concentration, precise tuning and with some more modern performance liberties. To ignore these qualities because you are supposedly offended by the lack of "authenticity" of the instrument used means you are not a musician, rather, you are a bastardization of a musician. This is a fantastic recording that will become an important recording in the recorded legacy of these pieces.
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