Mayke Rademakers

The Cello Suites

Format: CD
Label: Challenge Classics
UPC: 0608917268225
Catnr: CC 72682
Release date: 03 July 2015
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CD (3 items)
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Label
Challenge Classics
UPC
0608917268225
Catalogue number
CC 72682
Release date
03 July 2015

""La Furia", "Stagioni" and "Johann Sebastian Bach The Cello Suites" which are very, very special CDs by cellist Mayke Rademakers"

Stretto, 16-2-2018
Album
Artist(s)
Composer(s)
Press
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About the album

The Suites for violoncello solo

An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after the solo violin sonatas) cannot be completely established. However, scholars generally believe that – based on a comparative analysis of the styles of the sets of works – the cello suites arose first, effectively dating the suites pre-1720, the year on the title page of Bach’s autograph of the violin sonatas.

The suites were not widely known before the 1900s, and for a long time it was generally thought that the pieces were intended to be studies. However, after discovering Grützmacher’s edition in a thrift shop in Barcelona, Spain, at age 13, Catalan cellist Pablo Casals began studying them. Although he would later perform the works publicly, it was not until 1936, when he was 60 years old, that he agreed to record the pieces, beginning with Suites Nos. 1 and 2, at Abbey Road Studios in London. Casals became the first to record all six suites by 1939. Their popularity soared soon after, and Casals’ original recording is still widely available and respected today.

Attempts to compose piano accompaniments to the suites include a notable effort by Robert Schumann. In 1923, Leopold Godowsky realized Suites Nos. 2, 3 and 5 in full counterpoint for solo piano.

Unlike Bach’s solo violin sonatas, no autographed manuscript survived, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources, including a hand-written copy by Bach’s second wife, Anna Magdalena, has produced presumably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist with no solo accepted version. German cellist Michael Bach has stated that the manuscript of the suites by Anna Magdalena Bach is accurate. The unexpected positioning of the slurs corresponds closely to the harmonic development, and the details of his analysis confirm this.

In conversation with... Mayke Rademakers
You are presenting the Bach cello suites in quite an exceptional setting, combined with contemporary composers and improvisations. Could you describe your motivations behind all of this?
These days, there exists a tremendous focus upon “historic” performance practices. Besides the positive and most valuable lessons that we have learned regarding instrumentation, articulation and musical editions, one tends to forget that today’s listener hears within a completely different sphere to that of one who lived 300 years ago. An authentic listening experience is, despite what we would all like to believe, simply not possible.
It is for this reason that I have strived to make a connection with today’s world, by pairing the suites with works by contemporary composers, setting them in an unusual and incisive perspective.
This is designed as a modern reflection, with the hope and expectation that we will hear these suites in a different and more genuinely “authentic” manner thereby.

Could you disclose a little more regarding your choice of these particular composers like Gubaidulina, Kurtag and Schnittke?
The pieces I have chosen do link the suites most effectively. Exactly half-way, between the 3rd and the 4th suite, Per Slava, composed on the B.A.C.H. motive, functions like a centerfold of a magazine. Gubaidulina is a strongly spiritually.

Unlike Bach’s solo violin sonatas, no autographed manuscript survived, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources, including a hand-written copy by Bach’s second wife, Anna Magdalena, has produced presumably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist with no solo accepted version. German cellist Michael Bach has stated that the manuscript of the suites by Anna Magdalena Bach is accurate. The unexpected positioning of the slurs corresponds closely to the harmonic development, and the details of his analysis confirm this.

And your improvisations? Why the use of a silent cello?
In contrast with our time, improvising was very common in Bach’s era. Composing, playing one or several instruments, alongside the art of improvisation belonged to the skills of every musician.
I have always been intrigued to search for those notes which are not actually printed. Throughout these improvisations I was inspired by motives from the suites, the B.A.C.H.-motif and the various keynotes of the 6 suites. All are used in a generically subliminal way, but with enough clarity to ensure that
a connection is felt. When improvising, I prefer the use of the silent cello due to it’s remarkable possibilities in sound and expression. It also enables me to play in an effectively polyphonic manner.
De cellosuites van Bach in een nieuw daglicht
Een exacte chronologie van de suites, in welke volgorde ze gecomponeerd zijn en of ze voor of na de solovioolsonates geschreven zijn, kan niet worden vastgesteld. De meeste musicologen geloven echter dat de cellosuites eerder geschreven zijn, gebaseerd op de vroegere compositiestijl van Bach, wat zou betekenen dat de suites voor 1720 geschreven zijn. Pas in de 20e eeuw kregen de suites echter een grote bekendheid en voor lange tijd werden de stukken enkel gezien als studiewerken. Het was de Catalaanse cellist Pablo Casals die Grützmachers editie van de suites vond in een kringloopwinkel in Barcelona op dertienjarige leeftijd. Gedurende zijn leven trad hij regelmatig met de suites op, maar het was pas in 1936 dat hij ze voor het eerst opnam, op zestigjarige leeftijd, beginnend met Suites nr. 1 en 2 in Abbey Road, Londen. Casals was de eerste die de suites opnam en zijn interpretatie is nog steeds veelgeprezen en ruim beschikbaar. Sindsdien behoren de suites tot het repertoire van elke meestercellist en op dit album is het Mayke Rademakers die een nieuwe interpretatie geeft aan de prachtige werken van Bach.

De suites worden aangevuld met cellowerken van de modernere componisten Gubaidulina, Britten, Kurtág, Penderecki and Schnittke. Volgens Rademakers is een authentieke luisterervaring onmogelijk, ondanks dat we er graag in geloven. Om die reden streeft ze naar het maken van een connectie met de wereld van deze tijd. De combinatie van hedendaagse componisten met de bekende suites zorgt voor een ongebruikelijk en scherp perspectief. Daarnaast presenteert Rademakers een aantal improvisaties op elektronische cello.

Rademakers gaf vele recitals, kamermuziekconcerten, radio-uitzendingen en soloconcerten in Nederland, Oostenrijk (Wiener Musikverein), Italië, Duitsland, Noorwegen, Engeland (Londen) en gedurende het festival van Aspen (V.S.). De recensenten prezen haar sensitieve en muzikale spel. Meer dan eens is zij vergeleken met Jacqueline Dupré.
Die Suiten für Cello solo

Eine exakte Reihenfolge der Suiten Bachs, sowohl in Bezug auf die Reihenfolge, in der sie komponiert wurden, als auch in Bezug auf die Frage, ob zunächst die Suiten für Cello oder die Solosonaten für Violine entstanden, kann bis heute nicht ohne zweifel festgelegt werden. Die Wissenschaft vermutet jedoch, dass, basierend auf einer Stilanalyse, die Cello Suiten zuerst komponiert wurden und datieren sie auf die Zeit vor 1720, das selbe Jahr, das Bach auf dem Autographen seiner Violinsonaten vermekrt hat.

Mayke Rademakers kombiniert auf dieser Aufnahme diese Suiten, deren Kunstvertigkeit erst seit dem 20. Jahrhundert anerkannt ist (vorher galten sie als Übungsstücke), mit zeitgenössichen Kompositionen für Cello solo.

"Heutzutage liegt ein starker Fokus auf der historischen Aufführungspraxis. Neben den großen Erungenschaften dieser Entwicklung, wie das Wissen über Instrumentation und Artikulation sowie die großartigen neuen Editionen, vergessen wir häufig, dass der Hörer dies jedoch ganz anders wahrnimmt als der vor 300 Jahren. Somit ist ein authetisches Hörerlebnis, wie wir es uns wünschen leider nicht möglich.
Aus diesem Grund habe ich mich dazu entschieden eine Brüke zum Hier und Jetzt zu bauen, indem ich die Suiten mit Werken zeitgenössicher Komponisten kombiniert habe und den Suiten somit in eine ungewohnte und prägnante Perspektive zu verleihen.
Diese Konzeption dient der modernen Reflektion, mit der Hoffnung und Erwartung, dass wir die Suiten in einer anderen und vielleicht auch authetischeren Art und Weise erleben können." -
Mayke Rademakers

Artist(s)

Mayke Rademakers (cello)

Mayke Rademakers is an internationally acclaimed and recognized cellist. She has performed on the important stages of the Netherlands, Germany, Austria, Italy, Spain, Norway, the United Kingdom and the United States (Aspen Music Festival). She has made numerous recordings including Bach’s Cello Suites, works by Brahms, Liszt, Shostakovich and Rachmaninov as well as by contemporary composers including Gubaidulina, Penderecki and Kurtag. The international press has been consistently unanimous in its praise. Mayke Rademakers studied with master cellists including André Navarra, William Pleeth and János Starker in Vienna, Siena, London and the USA. She was recently awarded the Silver Medal of the French Academy of Arts and Sciences for her efforts on behalf of French repertoire.
more
Mayke Rademakers is an internationally acclaimed and recognized cellist. She has performed on the important stages of the Netherlands, Germany, Austria, Italy, Spain, Norway, the United Kingdom and the United States (Aspen Music Festival). She has made numerous recordings including Bach’s Cello Suites, works by Brahms, Liszt, Shostakovich and Rachmaninov as well as by contemporary composers including Gubaidulina, Penderecki and Kurtag. The international press has been consistently unanimous in its praise.
Mayke Rademakers studied with master cellists including André Navarra, William Pleeth and János Starker in Vienna, Siena, London and the USA. She was recently awarded the Silver Medal of the French Academy of Arts and Sciences for her efforts on behalf of French repertoire.

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Composer(s)

Benjamin Britten

Benjamin Britten is one most important British composers from the second half of the twentieth century. Remarkably, he focused on opera, a dying genre, at least in its current form. Britten's contributions however, among which Peter Grimes, The Rape of Lucretia, Gloriana, The Turn of the Screw, and Death in Venice, managed to remain core repertoire for opera companies to this day. Many of these productions included a role for his artistic partner and life companion Peter Pears. Britten also wrote a number of lieder for this tenor, among which his Serenade for tenor, horn and string orchestra. Yet, Britten excelled in many more genres. He wasn't even 20 years old when he composed his brilliant Phantasy for hobo quartet and his friendship with...
more

Benjamin Britten is one most important British composers from the second half of the twentieth century. Remarkably, he focused on opera, a dying genre, at least in its current form. Britten's contributions however, among which Peter Grimes, The Rape of Lucretia, Gloriana, The Turn of the Screw, and Death in Venice, managed to remain core repertoire for opera companies to this day. Many of these productions included a role for his artistic partner and life companion Peter Pears. Britten also wrote a number of lieder for this tenor, among which his Serenade for tenor, horn and string orchestra. Yet, Britten excelled in many more genres. He wasn't even 20 years old when he composed his brilliant Phantasy for hobo quartet and his friendship with the legendary cellist Rostropovich led to a Cello sonata, three Suites for cello solo and a Symphony for Cello and orchestra in the 1960s.

Britten never became Master of the Queen's Music, yet he surely had feeling for public sentiments. For example, as a pacifist, he taught his people about world peace through his War Requiem from 1962. Britten was an excellent interpreter of his own work, just like Bartók and Stravinsky. Many of his recordings have been matched, but never exceeded.


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Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
more

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Alfred Schnittke

Alfred Schnittke was the son to German-Jewish father and Volga-German mother from Frankfurt am Main. His musical education started in 1946 in Vienna, where his father worked as a journalist and translator, and from 1948 he continued his studies in Moscow. From the 1970s, he would fully dedicate himself to composing.  Schnittke's style was initially avant garde, strongly influenced by the Western composition techniques such as serialism and aleatorism. Like so many of his generation, Schnittke found these techniques to be unsatisfactory, and so he created his own style which he called polystylism, inspired by Charles Ives, Luciano Berio and Bernd Alois Zimmermann, but also Gustav Mahler,It is characterised by the parodic combinations of styles from different periods, by some recognised as postmodernism.   
more

Alfred Schnittke was the son to German-Jewish father and Volga-German mother from Frankfurt am Main. His musical education started in 1946 in Vienna, where his father worked as a journalist and translator, and from 1948 he continued his studies in Moscow. From the 1970s, he would fully dedicate himself to composing. Schnittke's style was initially avant garde, strongly influenced by the Western composition techniques such as serialism and aleatorism. Like so many of his generation, Schnittke found these techniques to be unsatisfactory, and so he created his own style which he called polystylism, inspired by Charles Ives, Luciano Berio and Bernd Alois Zimmermann, but also Gustav Mahler,It is characterised by the parodic combinations of styles from different periods, by some recognised as postmodernism.


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Sofia Gubaidulina

Sofia Gubaidulina studied piano and composition at the conservatory of Kazan, and later the conservatory of Moscow. There, she studied under Nikolai Peiko, the assistent of Dmitri Shostakovich.  She is active as a composer since 1963. In 1975, she founded the Astreja, a group with Viktor Suslin and Vyacheslav Artyomov, which focused on improvisation with rare Russian, Caucasian, Central and East Asian traditional music- and percussion instruments.  Thanks to the renowned violist Gidon Kemer, who promotes her work since the 80s, and conductor Reinbert de Leeuw, who presented many of her works, her music is regurlarly performed in the West. Together with Schnittke and Denisov, she is regarded as one of the most important composers of new music from the former Soviet Union. In...
more

Sofia Gubaidulina studied piano and composition at the conservatory of Kazan, and later the conservatory of Moscow. There, she studied under Nikolai Peiko, the assistent of Dmitri Shostakovich. She is active as a composer since 1963. In 1975, she founded the Astreja, a group with Viktor Suslin and Vyacheslav Artyomov, which focused on improvisation with rare Russian, Caucasian, Central and East Asian traditional music- and percussion instruments. Thanks to the renowned violist Gidon Kemer, who promotes her work since the 80s, and conductor Reinbert de Leeuw, who presented many of her works, her music is regurlarly performed in the West. Together with Schnittke and Denisov, she is regarded as one of the most important composers of new music from the former Soviet Union. In 1992, she moved to Germany.


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György Kurtág

The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1. In the 1980’s Kurtág gained international recognition for the first...
more
The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1.
In the 1980’s Kurtág gained international recognition for the first time with his Messages of the Late Miss R.V. Troussova, and his creativity increased, which resulted in several international commissions. Since the 1990’s Kurtág has frequently worked abroad. He was amongst others composer in residence at the Berlin Philharmonic and lived a few years in Paris, where he collaborated with the Ensemble InterContemporain.
Next to his activities as a composer and pianist, Kurtág taught piano and chamber music at the Ferenc Liszt Academy from 1967 until 1993, which led him to write short pedagogical piano works, collected in the still ongoing compendium Játékok (Games), which consists of nine volumes at the moment. Kurtág and his wife Márta regularly perform a selection of pieces from this collection.

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Press

"La Furia", "Stagioni" and "Johann Sebastian Bach The Cello Suites" which are very, very special CDs by cellist Mayke Rademakers
Stretto, 16-2-2018

["] ..More surprising are the modern solo cello compositions Rademakers places in between the suites: mostly obscure works by Gubaidulina, Penderecki, Schnittke and beautiful improvisations."
NRC Handelsblad, 30-11-2015

["]..Mayke Rademakers does not only perform Bach’s Suites in an exquisite manner, she mixes the baroque music with contemporary compositions. And this is one terrific cocktail!"
Pizzicato, 02-11-2015

Opening season Kunstkring Ommen.
De Stentor, 28-9-2015

''This recording is beautiful. with a great balance between direct and indirect sound.''
Nederlands Dagblad, 06-3-2015

Play album
Disc #1
01.
Suite nr. 1 in G-major: Prelude
01:53
(Johann Sebastian Bach) Mayke Rademakers
02.
Suite nr. 1 in G-major: Allemande
05:17
(Johann Sebastian Bach) Mayke Rademakers
03.
Suite nr. 1 in G-major: Courante
02:40
(Johann Sebastian Bach) Mayke Rademakers
04.
Suite nr. 1 in G-major: Sarabande
02:53
(Johann Sebastian Bach) Mayke Rademakers
05.
Suite nr. 1 in G-major: Menuet 1 & 2
03:41
(Johann Sebastian Bach) Mayke Rademakers
06.
Suite nr. 1 in G-major: Gigue
01:44
(Johann Sebastian Bach) Mayke Rademakers
07.
Prelude Con sordino senza sordino
03:07
(Sofia Gabaidulina) Mayke Rademakers
08.
Suite nr. 2 in D-minor: Prelude
03:54
(Johann Sebastian Bach) Mayke Rademakers
09.
Suite nr. 2 in D-minor: Allemande
04:48
(Johann Sebastian Bach, Alfred Schnittke) Mayke Rademakers
10.
Suite nr. 2 in D-minor: Courante
01:59
(Johann Sebastian Bach) Mayke Rademakers
11.
Suite nr. 2 in D-minor: Sarabande
04:28
(Johann Sebastian Bach) Mayke Rademakers
12.
Suite nr. 2 in D-minor: Menuet 1 & 2
03:21
(Johann Sebastian Bach) Mayke Rademakers
13.
Suite nr. 2 in D-minor: Gigue
02:43
(Johann Sebastian Bach) Mayke Rademakers
14.
Message-consolation
02:59
(György Kurtág) Mayke Rademakers
15.
Suite nr. 3 in C-major: Prelude
03:15
(Johann Sebastian Bach) Mayke Rademakers
16.
Suite nr. 3 in C-major: Allemande
04:08
(Johann Sebastian Bach) Mayke Rademakers
17.
Suite nr. 3 in C-major: Courante
03:24
(Johann Sebastian Bach) Mayke Rademakers
18.
Suite nr. 3 in C-major: Sarabande
03:45
(Johann Sebastian Bach) Mayke Rademakers
19.
Suite nr. 3 in C-major: Bourree 1 & 2
04:16
(Johann Sebastian Bach) Mayke Rademakers
20.
Suite nr. 3 in C-major: Gigue
03:13
(Johann Sebastian Bach) Mayke Rademakers

Disc #2
01.
Per Slava
05:39
(Krzysztof Penderecki) Mayke Rademakers
02.
Suite nr. 4 E flat-major: Prelude
04:21
(Johann Sebastian Bach ) Mayke Rademakers
03.
Suite nr. 4 E flat-major: Allemande
04:53
(Johann Sebastian Bach ) Mayke Rademakers
04.
Suite nr. 4 E flat-major: Courante
03:34
(Johann Sebastian Bach ) Mayke Rademakers
05.
Suite nr. 4 E flat-major: Sarabande
03:53
(Johann Sebastian Bach ) Mayke Rademakers
06.
Suite nr. 4 E flat-major: Bourree 1 & 2
04:44
(Johann Sebastian Bach ) Mayke Rademakers
07.
Suite nr. 4 E flat-major: Gigue
02:51
(Johann Sebastian Bach ) Mayke Rademakers
08.
Tema Sacher
01:13
(Benjamin Britten) Mayke Rademakers
09.
Suite nr. 5 in G-minor: Prelude
06:04
(Johann Sebastian Bach ) Mayke Rademakers
10.
Suite nr. 5 in G-minor: Allemande
06:29
(Johann Sebastian Bach ) Mayke Rademakers
11.
Suite nr. 5 in G-minor: Courante
02:43
(Johann Sebastian Bach ) Mayke Rademakers
12.
Suite nr. 5 in G-minor: Sarabande
04:46
(Johann Sebastian Bach ) Mayke Rademakers
13.
Suite nr. 5 in G-minor: Gavotte 1 & 2
05:31
(Johann Sebastian Bach ) Mayke Rademakers
14.
Suite nr. 5 in G-minor: Gigue
02:40
(Johann Sebastian Bach ) Mayke Rademakers
15.
Klingende Buchstaben
05:24
(Alfred Schnittke) Mayke Rademakers

Disc #3
01.
Suite nr. 6 in D-major: Prelude
05:29
(Johann Sebastian Bach ) Mayke Rademakers
02.
Suite nr. 6 in D-major: Allemande
09:10
(Johann Sebastian Bach ) Mayke Rademakers
03.
Suite nr. 6 in D-major: Courante
03:54
(Johann Sebastian Bach ) Mayke Rademakers
04.
Suite nr. 6 in D-major: Sarabande
04:39
(Johann Sebastian Bach ) Mayke Rademakers
05.
Suite nr. 6 in D-major: Gavotte 1 & 2
05:27
(Johann Sebastian Bach ) Mayke Rademakers
06.
Suite nr. 6 in D-major: Gigue
04:25
(Johann Sebastian Bach ) Mayke Rademakers
07.
Constant: One (improvisation)
01:49
(Mayke Rademakers) Mayke Rademakers
08.
Constant : Two (improvisation)
04:06
(Mayke Rademakers) Mayke Rademakers
09.
Constant: Three (improvisation)
05:17
(Mayke Rademakers) Mayke Rademakers
10.
Distant: One (improvisation)
03:53
(Mayke Rademakers) Mayke Rademakers
11.
Distant: Two (improvisation)
04:38
(Mayke Rademakers) Mayke Rademakers
12.
Distant: Three (improvisation)
01:28
(Mayke Rademakers) Mayke Rademakers
13.
Distant: Four (improvisation)
05:47
(Mayke Rademakers) Mayke Rademakers
show all tracks

Often bought together with..

Complete Works for Piano Trio vol. 5
Van Baerle Trio | Residentie Orkest The Hague
Revived Masterpieces
Catoire Ensemble
Stagioni
Mayke Rademakers
La Furia
Mayke Rademakers
Wartime Consolations
Linus Roth / Württemberg Chamber Orchestra Heilbronn / José Gallardo

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