Label: Perfect Noise
Format: Download Album
Barcode: 0719279934212
Catalog number: PN 2025
Releasedate:
Format: Download Album
Barcode: 0719279934212
Releasedate:
- first recording of this music in this setting
- multiple award-winning specialists in historical performance practice
- Natural acoustics with minimal intervention
- multiple award-winning specialists in historical performance practice
- Natural acoustics with minimal intervention
Three quick questions for tiefsaits
Why a suite for violoncello solo for three?
To put it bluntly: to share the most beautiful things. The suites are a centrepiece of the cello literature, timeless and inexhaustible. And sometimes you wish you didn't always have to tackle this work alone, but to emphasise the interplay of the lines, the ingeniously hidden polyphony and to develop a completely new playing and listening experience as an ensemble.
How did you go about arranging the music?
On the one hand, Johann Sebastian Bach himself is a great inspiration for arranging - for example in the doubling of his 5th Suite, which is available as a cello version aalso as a version for lute, or in numerous re-instrumentations of cantatas and sonatas. He also made use of the works of older composers such as Palestrina and added parts and bass lines. What we have expanded is of course not a historical or perfected Bach stylistic realisation, despite all “historical performance practice”, but our current view of the work, framed by our own experience with Bach's music and also inspired by other adaptations and expansions, for example the harpsichord version of the cello suites by Ludger Rémy. In the realisation, we tried to make the tones that Bach produces through his linear harmony audible, to set appropriate bass lines and to divide the polyphony of his music between the instruments. An exciting process that opens up a completely new perspective on the work.
How does it feel to play this famous work of cello literature as a trio with tiefsaits?
It's like a meeting of our interpretations of this suite, which then become a common idea. We feel connected, supported, challenged, constantly searching and yet it has become a chamber music work for us in the moments we play it. This creates a kind of intoxication, there is an incredible power. On the one hand, through the progressive pull of the bass part, which is taken over by the viola da gamba. Its depth adds a new dimension. Secondly, through the lively dialogue between the two cellos: in the interplay of their colours, in moments of pushing and releasing, of tension and relaxation and finally of coming together.
In our concert programme GOLD (with music exclusively by Bach), we are always looking for golden, warm combinations in the combination of cello and viola da gamba, sometimes lighter, sometimes darker.
As a trio of low historical string instruments, the suite has definitely taken us forward.
Why a suite for violoncello solo for three?
To put it bluntly: to share the most beautiful things. The suites are a centrepiece of the cello literature, timeless and inexhaustible. And sometimes you wish you didn't always have to tackle this work alone, but to emphasise the interplay of the lines, the ingeniously hidden polyphony and to develop a completely new playing and listening experience as an ensemble.
How did you go about arranging the music?
On the one hand, Johann Sebastian Bach himself is a great inspiration for arranging - for example in the doubling of his 5th Suite, which is available as a cello version aalso as a version for lute, or in numerous re-instrumentations of cantatas and sonatas. He also made use of the works of older composers such as Palestrina and added parts and bass lines. What we have expanded is of course not a historical or perfected Bach stylistic realisation, despite all “historical performance practice”, but our current view of the work, framed by our own experience with Bach's music and also inspired by other adaptations and expansions, for example the harpsichord version of the cello suites by Ludger Rémy. In the realisation, we tried to make the tones that Bach produces through his linear harmony audible, to set appropriate bass lines and to divide the polyphony of his music between the instruments. An exciting process that opens up a completely new perspective on the work.
How does it feel to play this famous work of cello literature as a trio with tiefsaits?
It's like a meeting of our interpretations of this suite, which then become a common idea. We feel connected, supported, challenged, constantly searching and yet it has become a chamber music work for us in the moments we play it. This creates a kind of intoxication, there is an incredible power. On the one hand, through the progressive pull of the bass part, which is taken over by the viola da gamba. Its depth adds a new dimension. Secondly, through the lively dialogue between the two cellos: in the interplay of their colours, in moments of pushing and releasing, of tension and relaxation and finally of coming together.
In our concert programme GOLD (with music exclusively by Bach), we are always looking for golden, warm combinations in the combination of cello and viola da gamba, sometimes lighter, sometimes darker.
As a trio of low historical string instruments, the suite has definitely taken us forward.
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1Suite Nr. 2 in d-Moll (BWV 1008)I. Prélude03:27
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2Suite Nr. 2 in d-Moll (BWV 1008)II. Allemande03:02
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3Suite Nr. 2 in d-Moll (BWV 1008)III. Courante02:06
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4Suite Nr. 2 in d-Moll (BWV 1008)IV. Sarabande03:34
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5Suite Nr. 2 in d-Moll (BWV 1008)V. Menuette I&II03:14
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6Suite Nr. 2 in d-Moll (BWV 1008)VI. Gigue02:47