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Quintasia, 3 Quintets for cello
C360
Gavotte en Rondeau from violin Partita No.3 ( BWV 1006)
The autograph score of Bach's cello Suites has been lost while that of the Sonatas & Partitas for solo violin only reached an Archive Library at the beginning of the 20th. Century, yet to view this document even in facsimile is to be bound into a spell by the beauty, skill and extempore furiosity of the script. The cycle has been described as a miracle of implied harmony and rich harmonic textures, “ its freshness and maturity, its depth, its beauty, its response to all moods “ informing a work of humanity and genius unparalleled in all the literature for solo violin.
The cycle has been described as a miracle of implied harmony and rich harmonic textures, “ its freshness and maturity, its depth, its beauty, its response to all moods “ informing a work of humanity and genius unparalleled in all the literature for solo violin.
The present arrangement of the Gavotte en Rondeau from Partita No. 3 (BWV1006) is based on Rachmaninoff's intricate harmonisation for piano.
Recorded by Ben Tarlton, Leo Popplewell, Toby White, Akito Goto & Pedro Silva
Ruht Wohl from the St. John Passion
( BWV 245 )
In the final Chorus from the St. John Passion, Bach imbues the popular dance-forms of the Sarabande and Minuet with a spiritual theme of atonement and reconciliation. The three ritornelli stand like pillars in a palindromic structure whose unbroken melodic line and flowing counterpoint represent a 'timeless continuance'. The original scoring is light and transparent, and transfers appropriately to a choir of cellos without the loss of any counterpoint.
Prelude Op. 25 No 3 by Rachmaninoff
Throughout his career as a composer and virtuoso pianist, this Prelude was one of Rachmaninoff's favourite pieces and he dedicated it to his teacher Alexander Siloti.
A powerful structure is built up from a small rhythmic motif, reminiscent of Tchaikovsky's representations of fate or Shostakovich's of looming state power. This is contrasted with a lyrical middle section and a final phrase marked leggiero in which the music flies off into the air like a bird.
