It was a very fine concert, and one would hope when he is ready Altstaedt will commit his striking Bach interpretations to disc. La première partie a été écrite en 1976 dans le cadre dun hommage à Paul Sacher. The concluding Gigue (52:35) gave us more closure but retained the serious air of the suite.Īfter these performances the lack of an encore was completely understandable, heightening the impact of the music we had heard. Trois strophes sur le nom de Sacher ( 1976 - 1982 ), pour violoncelle solo. After this a slight pick me up came in the shape of the first Bourrée (49:18), but the second was wispy and elusive (50:48). The famous Sarabande (45:27), which some have compared to the falling of tears, was suspended in mid-air, time almost stopping as the feather light notes traced their bare outlines. ![]() The Allemande (37:40) and Courante (43:32) were stern, each dance movement given the appropriate room but very darkly coloured, the rich chords beautifully judged. The Prelude (32:13) of this suite is austere in the extreme, and again a slightly reserved approach dynamically played to the music’s strengths. He decided against using the Minuet repeat – a minor shame, as it is such good music! – but the light and shade with the trio section (25:48 and then 26:33) was exquisitely judged, before the Gigue (28:19) danced its way into the distance.Īltstaedt’s choice of suites was very much light and shade, for there is little in Bach with a darker colour than the Solo Cello Suite no.5. When it came to the slow Sarabande (22:56), he resisted the temptation to do what a lot of cellists do and overplay the double stopped chords, again letting the music speak in quiet, thoughtful tones. With an airy Prelude (12:54) followed by a softly voiced Allemande (15:29) and light footed Courante (20:35), notable for its tasteful ornamentation, he was allowing Bach’s dance movements every chance to express their graceful side. Altstaedt played at a lower ‘baroque pitch’, with very little vibrato and with relatively little flamboyance, happy to let the music do the talking. ![]() Bach, the mood eased for a wonderful performance of the Cello Suite no.1. The third (7:20) went at a terrific rate, scurrying figures down the cello punctuated by plucking, then reaching dizzy heights with harmonics that could almost have been from another planet, before swooping down and finishing with aplomb. The second piece (4:45) brooded in the cello’s lower register before ascending to a lonely-sounding melody on high. The first piece (from 1:36 on the broadcast link) created a heady atmosphere but with plenty of nervous energy, before retreating to a distance. ![]() Dutilleux was in exalted company – Britten, Boulez, Lutoslawski and Ginastera were some of the other names involved – but he constructed 3 Stophes sur le nom de SACHER, three short but deeply expressive pieces.Īltstaedt played them passionately, immediately enjoying Dutilleux’s ways of exploiting the instrument’s colour through pizzicato, harmonics and a detuned ‘C’ string. The brief was to construct a solo cello work using the intials of the conductor’s name (Eb – A – C – B – E – R). I must admit I had thought it would be even more effective in between the two Bach suites, but with playing of this insight and quality it soon seemed harsh to quibble.Īlong with eleven other composers, Henri Dutilleux wrote a piece to celebrate the 70th birthday of the Swiss conductor and patron Paul Sacher. Yet before we heard his solo Bach he switched the order of the program slightly, placing the Dutilleux piece first. ![]() The Wigmore Hall is an ideal venue for solo cello, as Nicolas Altstaedt showed in this BBC Radio 3 Lunchtime Concert. To hear the BBC broadcast through BBC Sounds, please follow this link Souvenirs - Dutilleux: Trois strophes sur le nom de Sacher: No. Un poco indeciso) France musique Suivre Louis Rodde (violoncelle) interprète le premier mouvement (Un poco indeciso) de 'Trois Strophes sur le nom de Sacher' dHenri Dutilleux. Bach Cello Suite No 1 in G major BWV1007 (c1717-23) (12:54)Ĭello Suite No 5 In C minor BWV1011 (c1717-23) (32:13) Henri Dutilleux : Trois Strophes sur le nom de Sacher (I. Parenthèse 4.Dutilleux 3 Strophes sur le nom de SACHER (1976) (1:36 on the broadcast link below) Les Citations, Diptych For Oboe, Harpsichord, Double Bass And Percussionģ Strophes Sur Le Nom De Sacher, For Unaccompanied Cello II - Deuxième Mouvement ("Constellations") Timbres, Espaces, Mouvements Ou "La Nuit Étoilée" (Dedicated To Mstislav Rostropovich And In Memory Of Charles Münch) Mystère De L' Instant, For 24 Strings, Cimbalom And Percussion (Dedicated To Paul Sacher)
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