1
Suite No. 1, BWV 1007 transposed to C major~Prélude
2
Suite No. 1, BWV 1007 transposed to C major~Allemande
3
Suite No. 1, BWV 1007 transposed to C major~Courante
4
Suite No. 1, BWV 1007 transposed to C major~Sarabande
5
Suite No. 1, BWV 1007 transposed to C major~Menuets I-II
6
Suite No. 1, BWV 1007 transposed to C major~Gigue
7
Suite No. 2, BWV 1008 in D minor~Prélude
8
Suite No. 2, BWV 1008 in D minor~Allemande
9
Suite No. 2, BWV 1008 in D minor~Courante
10
Suite No. 2, BWV 1008 in D minor~Sarabande
11
Suite No. 2, BWV 1008 in D minor~Menuets I-II
12
Suite No. 2, BWV 1008 in D minor~Gigue
13
Suite No. 3, BWV 1009 in C major~Prélude
14
Suite No. 3, BWV 1009 in C major~Allemande
15
Suite No. 3, BWV 1009 in C major~Courante
16
Suite No. 3, BWV 1009 in C major~Sarabande
17
Suite No. 3, BWV 1009 in C major~Bourrées I-II
18
Suite No. 3, BWV 1009 in C major~Gigue
19
Suite No. 4, BWV 1010 transposed to G major~Prélude
20
Suite No. 4, BWV 1010 transposed to G major~Allemande
21
Suite No. 4, BWV 1010 transposed to G major~Courante
22
Suite No. 4, BWV 1010 transposed to G major~Sarabande
23
Suite No. 4, BWV 1010 transposed to G major~Bourrées I-II
24
Suite No. 4, BWV 1010 transposed to G major~Gigue
25
Suite No. 5, BWV 1011 in C minor~Prélude
26
Suite No. 5, BWV 1011 in C minor~Allemande
27
Suite No. 5, BWV 1011 in C minor~Courante
28
Suite No. 5, BWV 1011 in C minor~Sarabande
29
Suite No. 5, BWV 1011 in C minor~Gavottes I-II
30
Suite No. 5, BWV 1011 in C minor~Gigue
31
Suite No. 6, BWV 1012 in D major~Prélude
32
Suite No. 6, BWV 1012 in D major~Allemande
33
Suite No. 6, BWV 1012 in D major~Courante
34
Suite No. 6, BWV 1012 in D major~Sarabande
35
Suite No. 6, BWV 1012 in D major~Gavottes I-II
36
Suite No. 6, BWV 1012 in D major~Gigue
Item UPC: 4250128524049
Date First Available:
Label: RAMEE
Ronan Kernoa
J. S. Bach: The Cello Suites On Six Different
CD
ABOUT THE ALBUM
The term violoncello was particularly fluid in the early 18th century: it referred to a wide range of bowed stringed instruments of different sizes and shapes, generally with four or five strings; some of these instruments were held between the knees and others were supported by the arm. So when Bach's wife, Anna Magdalena, wrote Suites à Violoncello Solo senza Basso (Suites for Solo Cello without Bass) on the title page of her manuscript copy, we cannot be entirely sure what type of instrument she was referring to. It is said that Bach himself played both the violin and the viola exceptionally well, and it is quite possible that he originally composed the suites for his own use and played them on a violoncello piccolo held on the arm, using viola fingerings. It is, however, also possible that he composed these works for other virtuosi known to him, these including Gregor Christoph Eylenstein, concertmaster of the Weimar court orchestra, and the Leipzig violinist Carl Gotthelf Gerlach. While being excellent violinists, they were also known as experts on the cello and viola d'amore.These considerations-and the observation that certain suites seem particularly well suited to specific instruments-inspired Ronan Kernoa to record the six suites on six different instruments.
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