클래식

앨범: 마림바 슈트 (바흐 무반주 첼로 모음곡) - Gwendolyn Burgett Thrasher, marimba (2007 Blue Griffin)

리차드 강 2013. 3. 12. 22:13

Marimba Suites

앨범: 마림바 슈트 (바흐 무반주 첼로 모음곡)

Johann Sebastian Bach (1685 - 1750)

Ⅰ. Suite 1. Prelude - CD 1, 2 전곡 연주

 

Album Title: Marimba Suites (Transcriptions Of Six Cello Suites By J. S. Bach)

Composer: Johann Sebastian Bach (1685 - 1750)
Performer: Gwendolyn Burgett Thrasher (Marimba)

Audio CD (December 1, 2007)
Number of Discs: 2
SPAR Code: DDD
Recorded in: Stereo
Label: Blue Griffin Recording
Copyright: (c) 2007 Blue Griffin Recording
Recording Time 2:2:0
Genres: Classical, Music
Style: Baroque

 

 

Marimba Suites (Transcriptions Of Six Cello Suites By J. S. Bach)
   Composer   Johann Sebastian Bach (1685 - 1750)
   Performer: Gwendolyn Burget Thrasher (Marimba)
   Date Written   1720; Cöthen, Germany
   Period   Baroque
   Country   Germany
   Venue   Blue Griffin Studio, The Ballroom
   Work Notes   Blue Griffin Studio, The Ballroom (10/15/2006-10/17/2006)
   Notes   Arranger: Gwendolyn Burgett Trasher.

 

 

1. Suite for solo cello No. 1 in G major, BWV 1007

 

Ⅰ. Suite 1. Prelude
Ⅱ. Suite 1. Allemande
Ⅲ. Suite 1. Courante
Ⅳ. Suite 1. Sarabande
Ⅴ. Suite 1. Menuets Ⅰ & Ⅱ
Ⅵ. Suite 1. Gigue

2:36
4:10
2:40
2:06
3:37
1:35


2. Suite for solo cello No. 2 in D minor, BWV 1008

 

Ⅰ. Suite 2. Prelude
Ⅱ. Suite 2. Allemande
Ⅲ. Suite 2. Courante
Ⅳ. Suite 2. Sarabande
Ⅴ. Suite 2. Menuets Ⅰ & Ⅱ
Ⅵ. Suite 2. Gigue

3:06
3:02
2:07
3:17
2:51
2:28


3. Suite for solo cello No. 3 in C major, BWV 1009

 

Ⅰ. Suite 3. Prelude
Ⅱ. Suite 3. Allemande
Ⅲ. Suite 3. Courante
Ⅳ. Suite 3. Sarabande
Ⅴ. Suite 3. Bourrees Ⅰ& Ⅱ
Ⅵ. Suite 3. Gigue

3:37
4:02
2:54
2:46
3:23
2:55


4. Suite for solo cello No. 4 in E flat major, BWV 1010

 

Ⅰ. Suite 4. Prelude
Ⅱ. Suite 4. Allemande
Ⅲ. Suite 4. Courante
Ⅳ. Suite 4. Sarabande
Ⅴ. Suite 4. Bourrees Ⅰ & Ⅱ
Ⅵ. Suite 4. Gigue

4:06
3:31
3:36
3:25
4:53
2:37


5. Suite for solo cello No. 5 in C minor, BWV 1011

 

Ⅰ. Suite 5. Prelude
Ⅱ. Suite 5. Allemande
Ⅲ. Suite 5. Courante
Ⅳ. Suite 5. Sarabande
Ⅴ. Suite 5. Gavottes Ⅰ & Ⅱ
Ⅵ. Suite 5. Gigue

5:25
4:55
1:58
2:11
4:26
2:14


6. Suite for solo cello No. 6 in D major, BWV 1012

 

Ⅰ. Suite 6. Prelude
Ⅱ. Suite 6. Allemande
Ⅲ. Suite 6. Courante
Ⅳ. Suite 6. Sarabande
Ⅴ. Suite 6. Gavottes Ⅰ & Ⅱ
Ⅵ. Suite 6. Gigue

3:59
5:52
4:05
3:46
3:46
3:49

 

 

Reviews

BACH (arr. Thrasher) Cello Suites: Nos. 1–6, BWV 1007–1012 • Gwendolyn Burgett Thrasher (mmb) • BLUE GRIFFIN 151 (2 CDs: 122:04)

When I was at school I always enjoyed overhearing percussion-players practicing Bach on the marimba or xylophone. Now, thanks to Gwendolyn Burgett Thrasher, I no longer have to eavesdrop, but can indulge freely. Inspired by Bach’s Third Lute Suite, itself a transcription of the Fifth Cello Suite, Read more she’s followed his example and preserved the essentials—melody, harmony, and character—while adding bass notes to take advantage of the marimba’s polyphonic capability. Addressing the most easily anticipated objection, the marimba is not a cello. But then, neither is a cello a marimba. By this I mean that the floating, resonant tone of the marimba possesses a unique, atmospheric charm. True, the cello can link notes together in an unbroken legato, is sometimes more vigorous in attack, possesses an expressive, penetrating tone, and is Bach’s designated instrument. The marimba’s ability to sustain notes is limited, but this deficiency can be overcome by tremolos or repeated notes. However, these options aren’t really needed in the suites: the Air on the G String might be another matter. Here, Bach’s constantly moving line, the resonant acoustic, and the marimba’s innate warmth combine to create the illusion of legato, much as with a piano. Not that legato should be universally employed in Bach: Thrasher is well aware that articulation adds vitality and contrast. And while I said that the cello is sometimes more vigorous in attack, that doesn’t mean that the marimba can’t be played energetically, it’s just that the sound is cushioned.

Thrasher is lively in the energetic dance movements and peaceful in the preludes and sarabandes. She shapes the music with a fluctuating, but not excessive rubato that, along with skillfully graduated dynamics, enhances its rhetoric. Originally undertaken to share with other marimbists, these transcriptions should please anyone who isn’t intractably fixed on the cello as the only conceivable choice in this music. While it’s true that the drama is differently clothed, Bach’s famously “pure” music thrives in any instrumental setting. Transcription is alluring—and we know that Bach indulged himself often—because it allows more musicians to recreate the music while giving listeners a new perspective. So purists, don’t fret, the cello suites will still be there after you’ve heard the marimba at play. Rumor has it that there’s an excellent ukulele Bach recital available . . .

FANFARE: Robert Schulslaper


Reviews 2

BRAVA!!!
This is a refreshingly honest account of perhaps the greatest instrumental compositions Bach wrote. Burget-Thrasher's phrasing and sensitive playing are miraculous and set an incredibly high standard for marimba playing. However what is most gratifying is that she gives the music space to sound and resonate with the listener. There are no unnecessary aural or rhythmic mannerisms in these excellent transcriptions. The rhythmic spirit of each dance is maintained while at the same time Burgett-Thrasher avoids having the music become marked and too predictable. The entire recording is excellent however for this reviewer, the fifth and sixth suites are incandescent! Brava!!!

by Mdiv Ryan

     
     
     

잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.