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Six Suites for Violoncello Solo BWV 1007-1012
Johann Sebastian Bach

Lucia Swarts

Six Suites for Violoncello Solo BWV 1007-1012

Price: € 22.95
Format: CD
Label: Challenge Classics
UPC: 0608917278422
Catnr: CC 72784
Release date: 08 March 2019
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Label
Challenge Classics
UPC
0608917278422
Catalogue number
CC 72784
Release date
08 March 2019

"Her account now, in her splendid maturity, of Bach's Suites is not due to the commercial greed to "record everything", but to a inner urgency. In spite of a rather dry recording, Swarts displays an outstanding technical dexterity, but, most of all, it is the depth of her insight, the subtle contrasts of timbres and the naturalness of the musical flow that allow this account to be numbered among the ones which are worthy to take into account."

Scherzo, 01-11-2019
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Artist(s)
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About the album

Bach wrote six suites in different keys, each consisting of six movements. And while the titles of the individual movements are largely shared, the wide variety within the collection is quite astonishing. Some of the keys are more comfortable for the performer (G, D and C), while others are difficult in the extreme (E-flat Major). Bach employed unconventional tuning for the cello strings (in the fifth suite) and even wrote for a special five-stringed instrument in the final suite. It certainly appears that Bach was attempting to cover the entire range of human emotions in the six suites. The cheerful, youthful first suite in G major is followed by the introvert, dark and melancholy second, in D minor. The third suite in C major is brilliant, extrovert, rich and replete, an embrace. But the fourth in E-flat Major offers gloomy resistance. The fifth suite in C minor is like an ancient saga – dark and tragic but at the same time majestic – while the final suite in D major resonates with ecstasy, virtuosity and sparkling joie de vivre. Everything is precisely attuned to the characters of the different keys, as they would have been thought of in Bach's day. Keys that are designed to move the audience's souls.

The six movements within each individual suite refine the image. The preludes, with which they all begin, sound like spontaneous improvisations, often looking forward to what follows. The dances that follow the preludes – the stately allemandes and spiritual sarabandes, as well as the rousing courantes and gigues – were all, of course, familiar dance forms in Bach's time, but in the suites, they often transcend everyday reality, plumbing the depths of feeling and providing detail, counter-arguments and contrasts. The full range of human emotions appears to be encompassed within the notes that Bach wrote for a single cello.
Het is een hele uitdaging die Lucia Swarts aanging met de opname van de zes cellosuites van Johann Sebastian Bach. In de wereld van de cellisten is de weg naar een opname van een cellosuite van Bach een ware zoektocht, een ontdekkingsreis. Een tocht waarbij de musici niet alleen Bachs muziek moeten ontraadselen, maar vooral ook zichzelf leren kennen. Zonder deze twee elementen kan het verhaal immers niet worden verteld. Met haar prachtige cellospel vertelt Lucia het verhaal op een aangename en fijnzinnige manier. Zoals Siebe Riedstra van Opus Klassiek schreef "geeft Lucia Swarts ons een gulle Bach op darmsnaren en een leven vol ervaring in de muziek van de Köthener tovenaar".

Populaire suites

Sinds de eerste helft van de 20ste eeuw zijn de suites voor cello solo van Bach iconen binnen het klassieke repertoire. Dat is vooral te danken aan Pablo Casals die ze in korte tijd wereldberoemd maakte door zijn persoonlijke en hartstochtelijke interpretatie. Een echte verklaring voor de populariteit van de stukken is er niet. Is het de cello die volgens velen zo dicht bij de menselijke stem en daardoor bij de menselijke ziel staat? Is het de gelaagdheid van de muziek of zijn het de simpele en aanstekelijke dansvormen die Bach gebruikt?

Bach zette de cello op de kaart

Bach schreef de suites in zijn tijd als kapelmeester in Köthen, rond 1720. Een origineel is niet bewaard gebleven, wel afschriften van een latere datum, waaronder een van Bachs tweede vrouw Anna Magdalena. Interessant, want zij stond dicht bij Bach zelf en was muzikaal en een ervaren kopiist. Bach componeerde de suites zonder zich te baseren op een bestaande traditie en schreef daarmee niet alleen weergaloos mooie muziek maar ook geschiedenis. Hij zette de cello definitief op de kaart van de solo-instrumenten en verlegde technische grenzen bij het bespelen van het instrument.

Gevarieerde cellosuites

Bach maakte zes suites in verschillende toonsoorten die elk weer bestaan uit zes delen. Hoewel de titels van de delen voor een groot deel hetzelfde zijn, is het verbazingwekkend hoe groot de variëteit in de collectie is. Er zijn aangename, onaangename en soms ook heel lastige toonsoorten. De préludes waarmee alle suites beginnen klinken als spontane improvisaties die vaak verwijzen naar wat gaat komen. De dansen die op de préludes volgen, de statige allemandes en de spirituele sarabandes, maar ook de opgewekte courantes en gigues, waren dansvormen in Bachs tijd, maar ontstijgen in de suites vaak de werkelijkheid van alledag. Ze zorgen voor verdieping, details, tegenargumenten en contrasten. Het hele scala aan menselijke emoties lijkt gevangen in de noten die Bach slechts voor een cello schreef.

Lees ook de recensie van Michel Dutrieue van Stretto.be
Bach schrieb sechs Suiten in verschiedenen Tonarten, jede in sechs Sätzen. Während die Titel der individuellen Sätze sich weitgehend decken, sind die Unterschiede innerhalb der Sammlung erstaunlich. Einige der Tonarten liegen dem Interpreten besser in der Hand (G-, D- und C-Dur), während andere extrem schwierig zu spielen sind (Es-Dur). Bach nutzte eine ungewöhnliche Stimmung für das Cello (in der fünften Suite) und schrieb sogar für ein fünfsaitiges Instrument in der letzten Suite. Es scheint, dass Bach versuchte, in diesen sechs Suiten die gesamte Bandbreite menschlicher Emotionen einzufangen. Auf die fröhliche, jugendliche erste Suite in G-Dur folgt die introvertierte, dunkle und melancholische zweite in d-Moll. Die dritte Suite in C-Dur ist brillant, extrovertiert, üppig, eine Umarmung, doch die vierte in Es-Dur bietet düsten Widerstand. Die fünfte Suite in c-Moll gleicht einer alten Sage – düster und tragisch, doch gleichzeitig majestätisch –, während die letzte Suite in D-Dur voller Ekstase, Virtuosität und sprudelnder Lebensfreude ist. Alles ist genau an den Charakteristiken der jeweiligen Tonart ausgerichtet, wie sie zu Bachs Zeiten aufgefasst wurden: Tonarten, die dafür ausgelegt sind, die Seele des Hörers zu bewegen.

Die sechs Sätze der Suiten verfeinern dieses Bild. Das Vorspiel, mit dem eine jede beginnt, klingt wie eine spontane Improvisation und lässt oft anklingen, was später im Werk geschieht. Die Tänze, die dem Vorspiel folgen – stattliche Allemanden und spirituelle Sarabanden sowie mitreißende Couranten und Giguen – waren natürlich bekannte Formen zu Bachs Zeit, doch in den Suiten gehen sie oft über Alltägliches hinaus, loten Gefühlstiefe aus und bieten Detail, Gegenargumente und Kontraste. So wird das gesamte Spektrum menschlicher Emotionen umfasst in den Tönen, die Bach für ein einziges Cello schrieb.

Artist(s)

Lucia Swarts

Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985. In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians. Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello,...
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Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985.
In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians.
Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello, cello piccolo and basse de Violon.
From 1983 on she played in the Schoenberg Ensemble (later Asko/Schoenberg) and worked with composers as György Ligety, Sofia Gubaidulina , György Kurtag, Reinbert de Leeuw, Oliver Knussen, John Adams, Steve Reich, Louis Andriessen, Martijn Padding and Mayke Nas Composer Mayke Nas (Componist des vaderlands 2016-2018) wrote a piece for her. In June 1996 Lucia was one of the solo players in the Asko/Schoenberg Ensemble in the Opera `A King Riding ` by Klaas de Vries.
Since 1983 , Lucia has been principal cellist in the baroque orchestra of the Netherlands Bach society and she also plays in the Residentie Bach Ensemble.
She worked with baroque specialists as Gustav Leonhardt, Frans Brüggen, Sigiswald Kuijken, René Jacobs, Peter Dijkstra, Jos van Veldhoven , Jos Vermunt and Ton Koopman.
While early music and contemporary music has a special place in her affection and where she was performing in many CD`s she also performs romantic music.In 1997 she recorded a CD with Leo van Doeselaar (piano ) with music of Saint -Saëns, Busoni, Moscheles and Gounod. CD .
She is always looking for new repertoire ( for herself and also for her students) ,which needs to become out of the shadow.
Lucia issued 7 solo CDs.
Six Cello Sonatas by Vivaldi (CC72051), Cello Sonatas by Boccherini (CC 72065), Italian Cello Concertos (CC 72021), Bach after Bach .Vol. 1(with Leo van Doeselaar (CC72066) , Italian Concertos & Sonatas (CC 72516).The Italian Origins (seven mouintain records) and Cello Solo Suites by J.S.Bach ( CC 72784) She is a professor in `modern ` and historical cello at the Royal Conservatoire of The Hague since 1988 , where she works with Elena Malinova. Elena is also already for many years the correpetitor of her cellostudents.
Lucia is also visiting professor at the Conservatoire Superior de Salamanca and Sevilla (Spain).

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Composer(s)

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.  
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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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Press

Her account now, in her splendid maturity, of Bach's Suites is not due to the commercial greed to "record everything", but to a inner urgency. In spite of a rather dry recording, Swarts displays an outstanding technical dexterity, but, most of all, it is the depth of her insight, the subtle contrasts of timbres and the naturalness of the musical flow that allow this account to be numbered among the ones which are worthy to take into account.
Scherzo, 01-11-2019

Although the color of the instruments is important for the result, it's of course mainly the deep knowledge of Bach's style and the musicality of Swarts that make this registration very interesting.
Luister, 17-5-2019

Inspiring sounds of the Basse de violon.
NMF Magazine, 01-5-2019

The beautiful transparent recording in the Koepelkerk in Renswoude makes her articulated play stand out well.
Mania, 05-4-2019

Lucia Swarts can entertain in the highest regions with this outstanding game.
Opus Klassiek, 17-3-2019

Authentic "Six Suites for Violoncello Solo" by Bach, by Lucia Swarts, on the Challenge Classics label.
Stretto, 27-2-2019

Play album Play album
Disc #1
01.
Suite No. 5 in C Minor BWV 1011: I. Prélude
06:00
(Johann Sebastian Bach) Lucia Swarts
02.
Suite No. 5 in C Minor BWV 1011: II. Allemande
06:22
(Johann Sebastian Bach) Lucia Swarts
03.
Suite No. 5 in C Minor BWV 1011: III.Courante
02:12
(Johann Sebastian Bach) Lucia Swarts
04.
Suite No. 5 in C Minor BWV 1011: IV. Sarabande
03:17
(Johann Sebastian Bach) Lucia Swarts
05.
Suite No. 5 in C Minor BWV 1011: V. Gavotte I/II
05:33
(Johann Sebastian Bach) Lucia Swarts
06.
Suite No. 5 in C Minor BWV 1011: VI. Gigue
02:13
(Johann Sebastian Bach) Lucia Swarts
07.
Suite No. 2 in D-Minor, BWV 1008: I. Prélude
03:42
(Johann Sebastian Bach) Lucia Swarts
08.
Suite No. 2 in D-Minor, BWV 1008: II. Allemande
03:55
(Johann Sebastian Bach) Lucia Swarts
09.
Suite No. 2 in D-Minor, BWV 1008: III. Courante
02:13
(Johann Sebastian Bach) Lucia Swarts
10.
Suite No. 2 in D-Minor, BWV 1008: IV. Sarabande
04:05
(Johann Sebastian Bach) Lucia Swarts
11.
Suite No. 2 in D-Minor, BWV 1008: V. Menuet I/II
03:33
(Johann Sebastian Bach) Lucia Swarts
12.
Suite No. 2 in D-Minor, BWV 1008: VI. Gigue
02:50
(Johann Sebastian Bach) Lucia Swarts
13.
Suite No. 3 in C Major, BWV 1009: I. Prélude
03:28
(Johann Sebastian Bach) Lucia Swarts
14.
Suite No. 3 in C Major, BWV 1009: II. Allemande
05:01
(Johann Sebastian Bach) Lucia Swarts
15.
Suite No. 3 in C Major, BWV 1009: III. Courante
03:30
(Johann Sebastian Bach) Lucia Swarts
16.
Suite No. 3 in C Major, BWV 1009: IV. Sarabande
03:58
(Johann Sebastian Bach) Lucia Swarts
17.
Suite No. 3 in C Major, BWV 1009: V. Bourrée I/II
03:59
(Johann Sebastian Bach) Lucia Swarts
18.
Suite No. 3 in C Major, BWV 1009: VI. Gigue
03:20
(Johann Sebastian Bach) Lucia Swarts

Disc #2
01.
Suite No. 1 in G Major, BWV 1007: I. Prélude
02:58
(Johann Sebastian Bach) Lucia Swarts
02.
Suite No. 1 in G Major, BWV 1007: II. Allemande
04:48
(Johann Sebastian Bach) Lucia Swarts
03.
Suite No. 1 in G Major, BWV 1007: III. Courante
02:42
(Johann Sebastian Bach) Lucia Swarts
04.
Suite No. 1 in G Major, BWV 1007: IV. Sarabande
02:42
(Johann Sebastian Bach) Lucia Swarts
05.
Suite No. 1 in G Major, BWV 1007: V. Menuet I/II
03:28
(Johann Sebastian Bach) Lucia Swarts
06.
Suite No. 1 in G Major, BWV 1007: VI. Gigue
01:41
(Johann Sebastian Bach) Lucia Swarts
07.
Suite No. 4 in E-flat Major, BWV 1010: I. Prélude
04:31
(Johann Sebastian Bach) Lucia Swarts
08.
Suite No. 4 in E-flat Major, BWV 1010: II. Allemande
04:53
(Johann Sebastian Bach) Lucia Swarts
09.
Suite No. 4 in E-flat Major, BWV 1010: III. Courante
03:43
(Johann Sebastian Bach) Lucia Swarts
10.
Suite No. 4 in E-flat Major, BWV 1010: IV. Sarabande
03:54
(Johann Sebastian Bach) Lucia Swarts
11.
Suite No. 4 in E-flat Major, BWV 1010: V. Bourrée I/II
05:11
(Johann Sebastian Bach) Lucia Swarts
12.
Suite No. 4 in E-flat Major, BWV 1010: VI. Gigue
02:49
(Johann Sebastian Bach) Lucia Swarts
13.
Suite No. 6 in D Major, BWV 1012: I. Prélude
04:55
(Johann Sebastian Bach) Lucia Swarts
14.
Suite No. 6 in D Major, BWV 1012: II. Allemande
07:46
(Johann Sebastian Bach) Lucia Swarts
15.
Suite No. 6 in D Major, BWV 1012: III. Courante
04:08
(Johann Sebastian Bach) Lucia Swarts
16.
Suite No. 6 in D Major, BWV 1012: IV. Sarabande
04:18
(Johann Sebastian Bach) Lucia Swarts
17.
Suite No. 6 in D Major, BWV 1012: V. Gavotte I/II
04:51
(Johann Sebastian Bach) Lucia Swarts
18.
Suite No. 6 in D Major, BWV 1012: VI. Gigue
04:37
(Johann Sebastian Bach) Lucia Swarts
show all tracks

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