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The soud of double bass

Robert Schumann (1810 - 1856) : Adagio und Allegro op. 70 1 I. Adagio 3:56 2 II. Allegro 4:43 Karel Reiner (1910 - 1979) : Sonata for double bass and piano 3 I. Allegro energico 5:46 4 II. Poco grave 6:58 5 III. Allegro vivo 5:21 6 Yumiko Nishida (1951) : Tenei (Reincarnation) for double bass solo 7:09 Johannes Brahms (1833 - 1897) : Sonate für Klavier und Violoncello Nr. 1 e-Moll op. 38 (transc. Gerd Reinke) 7 I. Allegro non troppo 15:39 8 II. Allegretto quasi Menuetto 5:53 9 III. Allegro 6:51 10 Giovanni Bottesini (1821 - 1889) : Elegia D Major (no. 1)
  • Ryutaro Hei - double bass
  • Yu Kosuge - piano
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79.00 PLN


Nr kat.: EigenArt10500
Label  : Tacet

Managing to convey the Adagio and Allegro op. 70 by Robert Schumann clearly on the double bass with piano makes huge demands on the interpreter. Capturing the wit and rhythmic charm, but also the plaintiveness without lamentation in the Double Bass Sonata by Karel Reiner is a challenge on this weighty instrument, which even for the smallest sound requires the greatest physical effort. The same applies to the solo piece "Reincarnation" by Yumiko Nishida. After all, this premiere recording of a rebirth shouldn't be a tough or cumbersome event! The Brahms sonata on the other hand, which everyone has in their head in the original version for cello, mustn't create the impression that something is lost in the transfer from the cello to the double bass. Instead, it needs to add something new to the appeal of an old friend. And that scourge Giovanni Bottesini, who ultimately strikes fear and dread into the heart of every bass player: or almost every bass player. Ryutaro Hei masters every task with bravura, not least thanks to his congenial partner at the piano, Yu Kosuge. A very successful debut on the EigenArt label.

See reviews for this production

www.audio.de (06/01/2016):

Der "Orchester-Elephant", wie Kritiker Hanslick den Kontrabass einmal genannt hat, gilt nicht als Soloinstrument, sondern nur als Orchesterfundament. Dass das Instrument aber viel mehr Facetten hat, beweist Ryutaro Hei: Es kann klangschön sein wie in Schumanns Adagio und Allegro, ausdrucksvoll wie in Brahms' erster Cellosonate, rhythmisch wie in Reiners Sonate, lautmalerisch wie in Nishidas Tensei oder virtuos wie in Bottesinies Elegie. more...

Klassik heute (10/22/2015):

--> zur Originalkritik

Zugegeben, der Kontrabass ist nicht gerade das zugkräftigste Soloinstrument. more...