Johann Sebastian Bach (1685-1750) The 6 Cello Suites by Maurice Gendron / Remastered 🎧 Qobuz bit.ly/3Dm1dep Deezer bit.ly/3XLIh0S 🎧 Amazon Music amzn.to/3Dm1jmh Apple Music apple.co/40WbGGU 🎧 Spotify spoti.fi/3HgZCba Tidal bit.ly/3JmXWiX 🎧 TH-cam Music bit.ly/3HEPGta SoundCloud - 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Cello Suite No. 4 in E flat Major, BWV 1010: I. Prélude (Remastered 2023) Cello Suite No. 4 in E flat Major, BWV 1010: II. Allemande (Remastered 2023) Cello Suite No. 4 in E flat Major, BWV 1010: III. Courante (Remastered 2023) Cello Suite No. 4 in E flat Major, BWV 1010: IV. Sarabande (Remastered 2023) Cello Suite No. 4 in E flat Major, BWV 1010: V. Bourrées I & II (Remastered 2023) Cello Suite No. 4 in E flat Major, BWV 1010: VI. Gigue (Remastered 2023) The full album is available on youtube music th-cam.com/video/TCO01Ey53LQ/w-d-xo.html or on the main platforms by clicking on the links above. Cello: Maurice Gendron Recorded in 1964 New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr The term "suite" actually means "dance suite," at least in our time, since these were not the terms used in Bach's time. That said, from the end of the 16th century to the middle of the 18th century, the dance suite occupied a predominant position in European instrumental music, and this genre constitutes one of the main poles around which Bach's production was articulated. The evolution of the suite over the course of a century and a half must be understood from both a social and a musical point of view, especially since the dances used were of both popular and aristocratic origin. The idea of choosing from among the most original and adaptable European dances, and of uniting them in an ensemble conception, became more and more widespread in the 17th century. Shortly after 1600, the pavane and the gaillarde were replaced by the allemande and the courante, which were soon joined by the Spanish sarabande, marked by gravity, and the English gigue, full of vivacity. The succession "allemande - courante - sarabande - gigue" was imposed, and the main initiator in this matter was Jakob Froberger (1616-1667), German by birth but above all great European. One finds in this succession one of the constants of the art of the time, the ternary architecture. The allemande and the courante are close. The allemande, a quiet four-beat piece, usually unfolds in regular sixteenth notes. Its role announces that of the future sonata allegro. It prepares (and forms a whole with) the courante, of the French type with its complex dotted agogic at 3/2, or of the Italian type, lighter, faster at 3/4. The sarabande, in 3 beats, then plays the role of a central slow movement, and the gigue, generally in 6/8, that of an animated finale. Between the sarabande and the gigue came more and more French dances such as the gavotte, the passepied, the minuet or the bourrée, gathered in variable number under the common name of "galanteries", and intended to ensure, by their lightness, the continuity of the music. They are intended to provide a contrast, a relaxation, through their lightness and melodic seduction, in relation not only to the seriousness of the three initial pieces, but also to the gigue, from which polyphony is often not absent. Finally, it should be noted that in Bach's suites for solo instruments (harpsichord, violin, or cello), the allemande is sometimes preceded by a prelude. Maurice Gendron One of the greatest cellists of the post-war period (39-45). Trained in the French cello school, Maurice Gendron distinguished himself by a more supple bowing technique (Casals had obviously influenced him greatly) and a diversity of nuances in the vibrato that gave him an astonishing palette of sound; he did not seek power as a means of expression. "His use of the bow is astonishingly supple, and his left hand roams over the strings with an agility reminiscent of the most skilled violinists. The result is a warm, round sound, always creating a quality emotion and, above all, a great personality that makes this artist a sort of "Gieseking" of the cello..." Paris-presse, L'Intransigeant May 17, 1950 Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/video/MQlEpg9IEKg/w-d-xo.html
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Suite in verschiedenen Tempi mit tiefem doch gut phrasiertem Ton des technisch fehlerlosen Solovioloncellos und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von fast sechzig Jahren vor. Wahrhaft intelligenter und unvergleichlicher Cellist!
The term "suite" actually means "dance suite," at least in our time, since these were not the terms used in Bach's time. That said, from the end of the 16th century to the middle of the 18th century, the dance suite occupied a predominant position in European instrumental music, and this genre constitutes one of the main poles around which Bach's production was articulated. The evolution of the suite over the course of a century and a half must be understood from both a social and a musical point of view, especially since the dances used were of both popular and aristocratic origin. The idea of choosing from among the most original and adaptable European dances, and of uniting them in an ensemble conception, became more and more widespread in the 17th century. Shortly after 1600, the pavane and the gaillarde were replaced by the allemande and the courante, which were soon joined by the Spanish sarabande, marked by gravity, and the English gigue, full of vivacity. The succession "allemande - courante - sarabande - gigue" was imposed, and the main initiator in this matter was Jakob Froberger (1616-1667), German by birth but above all great European. One finds in this succession one of the constants of the art of the time, the ternary architecture. The allemande and the courante are close. The allemande, a quiet four-beat piece, usually unfolds in regular sixteenth notes. Its role announces that of the future sonata allegro. It prepares (and forms a whole with) the courante, of the French type with its complex dotted agogic at 3/2, or of the Italian type, lighter, faster at 3/4. The sarabande, in 3 beats, then plays the role of a central slow movement, and the gigue, generally in 6/8, that of an animated finale. Between the sarabande and the gigue came more and more French dances such as the gavotte, the passepied, the minuet or the bourrée, gathered in variable number under the common name of "galanteries", and intended to ensure, by their lightness, the continuity of the music. They are intended to provide a contrast, a relaxation, through their lightness and melodic seduction, in relation not only to the seriousness of the three initial pieces, but also to the gigue, from which polyphony is often not absent. Finally, it should be noted that in Bach's suites for solo instruments (harpsichord, violin, or cello), the allemande is sometimes preceded by a prelude. Maurice Gendron One of the greatest cellists of the post-war period (39-45). Trained in the French cello school, Maurice Gendron distinguished himself by a more supple bowing technique (Casals had obviously influenced him greatly) and a diversity of nuances in the vibrato that gave him an astonishing palette of sound; he did not seek power as a means of expression. "His use of the bow is astonishingly supple, and his left hand roams over the strings with an agility reminiscent of the most skilled violinists. The result is a warm, round sound, always creating a quality emotion and, above all, a great personality that makes this artist a sort of "Gieseking" of the cello..." Paris-presse, L'Intransigeant May 17, 1950 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Très très beau et si calmant (surtout après une tempête de neige où j'ai dû pelleter plus de 30 cm)! Merci beaucoup et sincères salutations de Montréal, Qc, Canada
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Johann Sebastian Bach (1685-1750) The 6 Cello Suites by Maurice Gendron / Remastered
🎧 Qobuz bit.ly/3Dm1dep Deezer bit.ly/3XLIh0S
🎧 Amazon Music amzn.to/3Dm1jmh Apple Music apple.co/40WbGGU
🎧 Spotify spoti.fi/3HgZCba Tidal bit.ly/3JmXWiX
🎧 TH-cam Music bit.ly/3HEPGta SoundCloud -
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Cello Suite No. 4 in E flat Major, BWV 1010: I. Prélude (Remastered 2023)
Cello Suite No. 4 in E flat Major, BWV 1010: II. Allemande (Remastered 2023)
Cello Suite No. 4 in E flat Major, BWV 1010: III. Courante (Remastered 2023)
Cello Suite No. 4 in E flat Major, BWV 1010: IV. Sarabande (Remastered 2023)
Cello Suite No. 4 in E flat Major, BWV 1010: V. Bourrées I & II (Remastered 2023)
Cello Suite No. 4 in E flat Major, BWV 1010: VI. Gigue (Remastered 2023)
The full album is available on youtube music th-cam.com/video/TCO01Ey53LQ/w-d-xo.html or on the main platforms by clicking on the links above.
Cello: Maurice Gendron
Recorded in 1964
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
The term "suite" actually means "dance suite," at least in our time, since these were not the terms used in Bach's time. That said, from the end of the 16th century to the middle of the 18th century, the dance suite occupied a predominant position in European instrumental music, and this genre constitutes one of the main poles around which Bach's production was articulated. The evolution of the suite over the course of a century and a half must be understood from both a social and a musical point of view, especially since the dances used were of both popular and aristocratic origin. The idea of choosing from among the most original and adaptable European dances, and of uniting them in an ensemble conception, became more and more widespread in the 17th century. Shortly after 1600, the pavane and the gaillarde were replaced by the allemande and the courante, which were soon joined by the Spanish sarabande, marked by gravity, and the English gigue, full of vivacity.
The succession "allemande - courante - sarabande - gigue" was imposed, and the main initiator in this matter was Jakob Froberger (1616-1667), German by birth but above all great European. One finds in this succession one of the constants of the art of the time, the ternary architecture. The allemande and the courante are close. The allemande, a quiet four-beat piece, usually unfolds in regular sixteenth notes. Its role announces that of the future sonata allegro. It prepares (and forms a whole with) the courante, of the French type with its complex dotted agogic at 3/2, or of the Italian type, lighter, faster at 3/4. The sarabande, in 3 beats, then plays the role of a central slow movement, and the gigue, generally in 6/8, that of an animated finale. Between the sarabande and the gigue came more and more French dances such as the gavotte, the passepied, the minuet or the bourrée, gathered in variable number under the common name of "galanteries", and intended to ensure, by their lightness, the continuity of the music. They are intended to provide a contrast, a relaxation, through their lightness and melodic seduction, in relation not only to the seriousness of the three initial pieces, but also to the gigue, from which polyphony is often not absent. Finally, it should be noted that in Bach's suites for solo instruments (harpsichord, violin, or cello), the allemande is sometimes preceded by a prelude.
Maurice Gendron One of the greatest cellists of the post-war period (39-45). Trained in the French cello school, Maurice Gendron distinguished himself by a more supple bowing technique (Casals had obviously influenced him greatly) and a diversity of nuances in the vibrato that gave him an astonishing palette of sound; he did not seek power as a means of expression.
"His use of the bow is astonishingly supple, and his left hand roams over the strings with an agility reminiscent of the most skilled violinists. The result is a warm, round sound, always creating a quality emotion and, above all, a great personality that makes this artist a sort of "Gieseking" of the cello..." Paris-presse, L'Intransigeant May 17, 1950
Johann Sebastian Bach PLAYLIST (reference recordings): th-cam.com/video/MQlEpg9IEKg/w-d-xo.html
Merci de partager autant beautés.
Thank you with all my heart!!! Bravo!!!👋👋👋
Wunderschöne und detaillierte Interpretation dieser perfekt komponierten Suite in verschiedenen Tempi mit tiefem doch gut phrasiertem Ton des technisch fehlerlosen Solovioloncellos und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von fast sechzig Jahren vor. Wahrhaft intelligenter und unvergleichlicher Cellist!
The term "suite" actually means "dance suite," at least in our time, since these were not the terms used in Bach's time. That said, from the end of the 16th century to the middle of the 18th century, the dance suite occupied a predominant position in European instrumental music, and this genre constitutes one of the main poles around which Bach's production was articulated. The evolution of the suite over the course of a century and a half must be understood from both a social and a musical point of view, especially since the dances used were of both popular and aristocratic origin. The idea of choosing from among the most original and adaptable European dances, and of uniting them in an ensemble conception, became more and more widespread in the 17th century. Shortly after 1600, the pavane and the gaillarde were replaced by the allemande and the courante, which were soon joined by the Spanish sarabande, marked by gravity, and the English gigue, full of vivacity.
The succession "allemande - courante - sarabande - gigue" was imposed, and the main initiator in this matter was Jakob Froberger (1616-1667), German by birth but above all great European. One finds in this succession one of the constants of the art of the time, the ternary architecture. The allemande and the courante are close. The allemande, a quiet four-beat piece, usually unfolds in regular sixteenth notes. Its role announces that of the future sonata allegro. It prepares (and forms a whole with) the courante, of the French type with its complex dotted agogic at 3/2, or of the Italian type, lighter, faster at 3/4. The sarabande, in 3 beats, then plays the role of a central slow movement, and the gigue, generally in 6/8, that of an animated finale. Between the sarabande and the gigue came more and more French dances such as the gavotte, the passepied, the minuet or the bourrée, gathered in variable number under the common name of "galanteries", and intended to ensure, by their lightness, the continuity of the music. They are intended to provide a contrast, a relaxation, through their lightness and melodic seduction, in relation not only to the seriousness of the three initial pieces, but also to the gigue, from which polyphony is often not absent. Finally, it should be noted that in Bach's suites for solo instruments (harpsichord, violin, or cello), the allemande is sometimes preceded by a prelude.
Maurice Gendron One of the greatest cellists of the post-war period (39-45). Trained in the French cello school, Maurice Gendron distinguished himself by a more supple bowing technique (Casals had obviously influenced him greatly) and a diversity of nuances in the vibrato that gave him an astonishing palette of sound; he did not seek power as a means of expression.
"His use of the bow is astonishingly supple, and his left hand roams over the strings with an agility reminiscent of the most skilled violinists. The result is a warm, round sound, always creating a quality emotion and, above all, a great personality that makes this artist a sort of "Gieseking" of the cello..." Paris-presse, L'Intransigeant May 17, 1950
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Splendido, magistrale. 🙏
Authoritative splendide voicing!
The quiet a bit subdued style of playing of this wonderful artist creates a wonderful consoling sound. Thank you for the remastering !
Always a pleasure to read you Frans :)
Поздняя осень, небо затянуто серыми облаками, но выше звёздное небо. Такие ассоциации. Виолончель Жендрона унесла в космос. И это Бах.
Très très beau et si calmant (surtout après une tempête de neige où j'ai dû pelleter plus de 30 cm)! Merci beaucoup et sincères salutations de Montréal, Qc, Canada
Salutations à vous Inge :)
@@classicalmusicreference
Merci beaucoup et bon début de semaine!
Simply stunning, beautiful, majestic, and beyond words.
The full album is available on youtube music th-cam.com/video/TCO01Ey53LQ/w-d-xo.html or on the main platforms by clicking on the links above.
👍👌🎼🤝🎶🤝🙏🧡
Thank you for your comments :)
@@classicalmusicreference 🎼🧡🌹🎶🤝🙏🌿👋
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