Quand Bach se délecte de l'obligation qui lui est faite d'exposer l'harmonie par le biais mélodique (autrement dit, d'égrener au violoncelle chaque note d'un accord qu'il aurait touché au clavecin), cela donne l'un des monuments absolus de la musique de chambre ; quand Jean-Guihen Queyras se délecte de cette "irrésistible vitalité" sur son violoncelle Gioffredo Cappa de 1696, cela donne l'un de ses disques les plus aboutis !
When Bach revels in the obligation to set out his harmony in melodic terms (in other words, to have the cello play successively each note of what would have been a single chord on the keyboard), the result is one of the supreme monuments of chamber music; when Jean-Guihen Queyras revels in this 'irresistible vitality' on his Gioffredo Cappa cello of 1696, the result is one of his most inspired recordings!
More information: http://www.harmoniamundi.com/#/albums?id=1201
When Bach revels in the obligation to set out his harmony in melodic terms (in other words, to have the cello play successively each note of what would have been a single chord on the keyboard), the result is one of the supreme monuments of chamber music; when Jean-Guihen Queyras revels in this 'irresistible vitality' on his Gioffredo Cappa cello of 1696, the result is one of his most inspired recordings!
More information: http://www.harmoniamundi.com/#/albums?id=1201
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Musique