I catch up to Vogler just after he has laid down the last notes, a few days before Christmas. Wispelwey is sure that the suites “meant something special to Bach-writing just one suite was not enough for him.” Bach’s imagination was so quick that I can imagine his coming up with either half of the cycle in his head-maybe both-on the spur of the moment.” Wispelwey suggests an intriguing alternative explanation: “Perhaps Bach wrote three suites to start with, took a break, then came up with three more, quite different suites, like mirroring semi-cycles. Most importantly, perhaps, is his move away from the normal four-string musical instrument in Suites Five and Six.” “Only then can we understand what is happening musically in all its layers as Bach moved from Suites One to Six. “I look at this cycle as a unity in which the Six together form one big masterpiece, Wispelwey says. Drawing heavily on the resources of modern research, and confident in their own virtuosity, they preferred to leave the interpretive details and nuances to the moment, according to their own style and personality. When it came to their preparation and interpretive approach, Wispelwey and Vogler harbored views of the Bach Suites in which higher-level concerns trumped conventional notions of taking each Suite in isolation. For Jan Vogler, it’s his first, for Sony. For Pieter Wispelwey, it’s his third complete set, on the Dutch upstart Evil Penguin label. This is the story of two cello giants, and their approaches to recording Bach’s Six Cello Suites.
0 kommentar(er)
