I'm not sure what you find tedious about this, he seems to play with exceptional finesse and lightness. Pieter is known for his minimal, or rather very conscious usage of vibrato which may seem dry to those unaccustomed to it, however like fine wine, the more you drink the more you appreciate the subtleties. The textures that arise from his chillingly precise intonation elicit emotions for me which a version full of vibrato and flare simply do not. This may boil down to differences in taste but to me many modern cellists use vibrato and rubato in slight excess. They are both very important expressive techniques but they can often be employed to cover up poor intonation or rhythm. Some pieces call for them, naturally, yet I would argue that the Bach Suites do not require much. If anything some moderate rubato is plenty. The musicality and mathematical structure of the suites is beautiful in its own right, they hardly require romanticizing. Now, I don't want to come off as a traditionalist, I've heard recordings of both styles and they each have their merits. I suppose to my ear as a cellist, it's all too common to hear someone repeatedly begin notes with vibrato, it allows you to slide into place if you are off but it takes great skill to consistently hit notes dead on and then open up into vibrato. What Pieter accomplishes is playing with barely any vibrato, yet maintains great intonation. That is exemplary technique.
philological?? That aside, I think that everyone is free to modernize or embellish Bach's music, but whether that is what Bach 'deserves' is another matter, surely. The problem is: who is the judge of that?
What a horribly closed-minded person you appear to be, whatever has possessed you to call this interpretation tedious and a bore?? For me this is exactly the kind of interpretation Bach's music calls for, it's subtle and delicate music, and the sound world created by Wispelwey, for me anyway, transforms the music on the page, unlike someone like Rostropovich who for me just has the opposite effect, killing the music dead with his overly powerful performance.
0:00 Prelude
2:23 Alemande
7:17 Courante
10:06 Sarabande
13:10 Menuet I & II
16:31 Gigue
The sound of the void is magnificent!
I bought this CD when it was first released. This is my favourite version of Cello Suite 1. Yo Yo Ma phooey!
Love his sound!
Godlike
FANTASTICO!!!!!
I love it
10:06 Sarabande
magnifico, amo!
Meraviglia... ❤️
love it
Lovely :)
❤️
Which of the 3 recordings made by Wispelwey is it?
8:22 2nd part
Why is this in Gb :D? Would like to play over this marvelous interpretation but the key is different :/
Tuomas it's in baroque pitch.
You're confusing pitch with key names.
Baroque pitch
♪💙
Is it the 2012 recording?
No, the earlier one,
@@Muzikay There are 3 recordings. Which older?
Zoek eens met Emily Bear Zuill Bailey
The painting is really cruel! Who could think eating these poor little birds while listening to this beautiful music.. such contras!
What a bore this so called philological ancient music!! Bach deserves more than this tedious interpretation.
I'm not sure what you find tedious about this, he seems to play with exceptional finesse and lightness. Pieter is known for his minimal, or rather very conscious usage of vibrato which may seem dry to those unaccustomed to it, however like fine wine, the more you drink the more you appreciate the subtleties. The textures that arise from his chillingly precise intonation elicit emotions for me which a version full of vibrato and flare simply do not.
This may boil down to differences in taste but to me many modern cellists use vibrato and rubato in slight excess. They are both very important expressive techniques but they can often be employed to cover up poor intonation or rhythm. Some pieces call for them, naturally, yet I would argue that the Bach Suites do not require much. If anything some moderate rubato is plenty. The musicality and mathematical structure of the suites is beautiful in its own right, they hardly require romanticizing. Now, I don't want to come off as a traditionalist, I've heard recordings of both styles and they each have their merits.
I suppose to my ear as a cellist, it's all too common to hear someone repeatedly begin notes with vibrato, it allows you to slide into place if you are off but it takes great skill to consistently hit notes dead on and then open up into vibrato. What Pieter accomplishes is playing with barely any vibrato, yet maintains great intonation. That is exemplary technique.
philological?? That aside, I think that everyone is free to modernize or embellish Bach's music, but whether that is what Bach 'deserves' is another matter, surely. The problem is: who is the judge of that?
What a horribly closed-minded person you appear to be, whatever has possessed you to call this interpretation tedious and a bore?? For me this is exactly the kind of interpretation Bach's music calls for, it's subtle and delicate music, and the sound world created by Wispelwey, for me anyway, transforms the music on the page, unlike someone like Rostropovich who for me just has the opposite effect, killing the music dead with his overly powerful performance.
You have no ears!
You call this a bore? I would like to see you play better than him!
is this on the 1710 Baroque Cello???