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巴哈:無伴大提琴奏組曲( 第1-6號, BWV1007-1012)
沙薩·維克托莫夫 大提琴
巴哈根本想像不到他的六件無伴奏大提琴組曲在柯登城(Cothen)寫完之後三百年變得有多麼受歡迎. 有超過200多張歷史和現代錄音, ”非正式”和”現代的”詮釋版本存在 – 這說明了熱門的程度. 此音樂非常要求演奏者的技巧與詮釋能力和他們對整體的理解. 在這些組曲中, 巴哈設法創造出非常創新的音樂(值得注意的是在當時大提琴仍然在演進中), 但是他保持純淨風格和容易理解度. 雖然這些作品正式來說是舞蹈組曲, 其中一些的架構卻比較像建立教堂一樣的, 這一部份得歸因於對位法(contrapuntal)寫作的方式. 這些作品是任何精通大提琴的人的一個大挑戰, 包含沙薩·維克托莫夫(Sasa Vectomov)在內. 他的第一個老師是他父親(Ivan Vectomov, 曾經在巴黎受和畢亞第高斯基(Piatigorsky), 傅尼葉(Fournie)一起受教於卡薩爾斯的助理Diran Alexanian). 之後年輕的維克托莫夫的演奏技巧強烈受到羅斯托波維契老師柯佐魯波夫(Semyon Kozolupov, 在莫斯科音樂學院時)和納瓦拉(Andre Navarra, 在義大利時)兩人的影響. 除了他的獨奏家演藝事業, 他也精於演奏室內樂(捷克三重奏, 布拉格市四重奏), 而且也是一位很好的老師. 他準備了好幾年為了在1984年夏天於布拉格魯道夫音樂廳錄製巴哈大提琴組曲, 並在一場音樂會中靠記憶演奏完全曲.
他的錄音作品特色是有無懈可擊美麗的音調, 完美的腔調(intonation)和精湛的技巧, 但更重要的是他對音樂符號(”text”)深入的了解和音樂人即時演奏的技巧讓此錄音專輯像是永恆與獨特的物品.
Sasa Vectomov – cello (made by Giovanni Battista Guadagnini)
Recorded in the Organ Hall of the House of Artists (Rudolfinum) from 27 August to 4 September, 1984
Bach could hardly have imagined how popular his cycle of Six Suites for Cello Solo would
become nearly 300 years after he finished writing them in Cöthen. There are more than 200
existing historical and contemporary recordings of "informed" and "modern"
interpretations – that tells it all. The music makes extraordinary demands on players'
technical and interpretive ability and their overall comprehension. In the suites, Bach
managed to create music that is highly innovative (it is worth noting that the cello was still
developing at the time), and yet he retained his stylistic purity and comprehensibility. While
these are formally dance suites, the architecture of some of them is more like that of a
cathedral, in part thanks to the wealth of contrapuntal writing. They are a great challenge
for everyone who has mastered the cello, Sasa Vectomov included. His first teacher was his
father (he studied in Paris with Piatigorsky and Fournier and with Casals's assistant
Alexanian). The playing of the young Vectomov was then strongly influenced by
Rostropovich's teacher Semyon Kozolupov at the Moscow Conservatoire and by André
Navarra in Italy. Besides his solo career, he also excelled at playing chamber music (Czech
Trio, City of Prague Quartet) and was an equally wonderful teacher. For the recording of the
Bach suites that he made in Prague at the Rudolfinum in the summer of 1984, he prepared
himself for several years. In 1980, for example, he played the whole cycle from memory at
a single concert.
His recording can be characterised as having unmistakable beauty of tone, perfect
intonation, and brilliant technique, but above all it is the deep comprehension of the "text"
and the immediacy of the musicianship that make this recording something timeless and
exceptional.
Bach – Cello Suites: timeless music on a timeless recording
JOHANN SEBASTIAN BACH (1685–1750)
CD 1
Suite No. 1 in G major . BWV 1007 11:16
1. I. Prélude 2:42
2. II. Allemande 2:21
3. III. Courante 1:33
4. IV. Sarabande 1:29
5. V. Menuet I, II 2:06
6. VI. Gigue 1:04
Suite No. 2 in D minor . BWV 1008 13:01
7. I. Prélude 3:40
8. II. Allemande 2:01
9. III. Courante 1:14
10. IV. Sarabande 2:20
11. V. Menuet I, II 2:08
12. VI. Gigue 1:38
Suite No. 3 in C major . BWV 1009 14:16
13. I. Prélude 3:55
14. II. Allemande 1:57
15. III. Courante 1:42
16. IV. Sarabande 2:22
17. V. Bourée I, II 2:39
18. VI. Gigue 1:39
CD 2
Suite No. 4 in E flat major . BWV 1010 18:36
1. I. Prélude 6:11
2. II. Allemande 2:19
3. III. Courante 2:11
4. IV. Sarabande 2:35
5. V. Bourée I, II 3:53
6. VI. Gigue 1:26
Suite No. 5 in C minor . BWV 1011 20:44
7. I. Prélude 7:56
8. II. Allemande 3:56
9. III. Courante 1:31
10. IV. Sarabande 1:45
11. V. Gavotte I, II 3:58
12. VI. Gigue 1:38
Suite No. 6 in D major . BWV 1012 21:20
13. I. Prélude 5:46
14. II. Allemande 5:11
15. III. Courante 1:56
16. IV. Sarabande 2:33
17. V. Gavotte I, II 3:20
18. VI. Gigue 2:33 |
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