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BACH, Markku Luolajan-Mikkola

Complete Sonatas & Partitas, BWV 1001-1006

Disc One Partita No. 2 in G minor, BWV 1004 (original D minor) 1. Allemanda 2. Corrente 3. Sarabanda 4. Giga 5. Ciaccona Sonata No. 2 in D minor, BWV 1003 (A minor) 6. Grave 7. Fuga 8. Andante 9. Allegro Partita No. 3 in A major, BWV 1006 (E major) 10. Preludio 11. Loure 12. Gavotte en Rondeau 13. Menuet I & II 14. Bourée 15. Gigue Disc Two Partita No. 1 in E minor, BWV 1002 (B minor) 1. Allemanda 2. Double 3. Corrente 4. Double: Presto 5. Sarabande 6. Double 7. Tempo di Borea 8. Double Sonata No. 1 in C minor, BWV 1001 (G minor) 9. Adagio 10. Fuga: Allegro 11. Siciliana 12. Presto Sonata No. 3 in F major, BWV 1005 (C major) 13. Adagio 14. Fuga 15. Largo 16. Allegro assai
  • Markku Luolajan-Mikkola - cello
  • BACH
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79.00 PLN

2 CD:

Nr kat.: CKD548
Label  : Linn Records

With two Gramophone Awards to his name and a reputation synonymous with excellence, Markku Luolajan-Mikkola is a musician who is at the top of his profession. Transcribing Bach's hugely popular works for cello, especially one in Baroque set-up, was not without its risks, although performing on Baroque cello also offers compelling advantages. Luolajan-Mikkola takes his interpretative cue from the set-up of the Baroque instrument, which informs such issues as tuning, vibrato, fingering and articulation. Performing the Sonatas and Partitas on the cello is so challenging that it is almost impossible to imagine a cellist of Bach's day playing them, but Luolajan-Mikkola rises to the challenge with aplomb. Luolajan-Mikkola's main aim in this recording has been to capture emotion and convey expression according to the respective key and character of each movement, which he achieves in spades. The Guardian
'...Sarabandes sung low and husky, unadorned, flawed and beautiful.'
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Irish Times
'Bach with a difference...a darkening of tone and a thickening of textures...'
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Ming Pao Weekly
Chinese Review: 'Luolajan-Mikkola offers a marvelous transcription of the sonatas-partitas, and that it’s enough to listen to your playing without the explanation of why to do such transcription.'
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