Name: Violoncello Solo
Start: 2019-06-17T00:00:00.000Z
End: 2019-06-18T00:00:00.000Z
Location: Basilica di San Vitale

Admin

Ravenna Festival

Instrumentalist

Cellist

Jo-Chan Lin

Cello

Violoncello Solo

Ravenna

Italy

Basilica di San Vitale

Violoncello Solo: 6 Cello Suites, BWV 1007-1012 Bach, Johann Sebastian

Public

Cello Suites

Larissa Andrea Pereira

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Conductor

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

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Bass

Singer

Mezzo-soprano

Soprano

Bass-baritone

Baritone

Contralto

Countertenor

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

Assistere all’esecuzione delle Suites per violoncello solo di Bach provoca sempre stupore, ammirazione, smarrimento, quasi sgomento: come è possibile concentrare in un solo strumento, che fino a Bach era estraneo al concetto stesso di solismo, una tale qualità e varietà di invenzione, di gioco, di poesia e al tempo stesso di infallibile razionalità?
Riconducibili agli anni di Köthen (1717-1723), quindi al servizio di Bach come Kappelmeister del principe Leopoldi di Anhalt, si ritiene che siano state composte per uno degli ottimi strumentisti di quella cappella di corte, il violoncellista (o violista da gamba) Christian Bernhard Linigke.
Ciò che accomuna le sei Suites, orientate all’organizzazione di movimenti di danza propri della suite per strumenti a tastiera, è l’aggiunta ai quattro tempi fondamentali di rito (Allemanda, Corrente, Sarabanda e Giga) di un esteso e caratterizzante, quindi ogni volta diverso nello stile, Preludio all’inizio e di una coppia di danze (rispettivamente, in quest’ordine, Minuetto I e II nella prima e seconda Suite, Bourrée I e II nella terza e quarta, Gavotta I e II nella quinta e sesta: sempre con da capo, ossia con ripetizione della prima) tra la Sarabanda e la Giga. Risultato: una costruzione in due grandi sezioni, tra loro speculari, di tre pezzi ciascuna, con al centro il tempo lento della Sarabanda, momento di massima concentrazione espressiva della Suite.

italiano

The performance of Bach’s Cello Suites unfailingly generates wonder, admiration, bewilderment and almost consternation: how can such quality and variety of invention, playfulness, poetics and even infallible rationalism be concentrated in just one instrument that was foreign to the very concept of soloism until Bach came along?
Traced to the Köthen period (1717-1723), hence to Bach’s appointment as Kappelmeister of Prince Leopold of Anhalt, they are supposed to have been composed for one of the highly skilled instrumentalists of that court chapel, the celloist (or viola da gamba player) Christian Bernhard Linigke.
The six Suites designed to organise the dance movements typical of a suite for keyboard instruments present a common feature, the addition to the four basic movements (Allemande, Courante, Sarabande and Gigue) of an extensive and characterising, hence with a different style each time, Prelude at the start, and of a couple of dances (respectively, in the following order, Minuet I and II in the first and second Suite, Bourrée I and II in the third and fourth, Gavotte I and II in the fifth and sixth: always with da capo, a repetition of the first one) between the Sarabande and the Gigue. The outcome is the construction of two large mutually specular sections, comprising three parts each, with the central slow tempo of the Sarabande, which marks the height of the Suite’s expressive concentration.

English

Violoncello Solo by Bach, J. S., Od (2019/2019), Basilica di San Vitale, Ravenna, Italy

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