The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in D minor, BWV 1008
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in C major, BWV 1009
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in E flat major, BWV 1010
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bernstein, Symphony No.2 “The Age of Anxiety”
Bernstein’s Symphony No. 2 was recorded live with the London Symphony Orchestra during the Leonard Bernstein Festival which took place at London’s Barbican Centre in May 1986. In the presence of Queen Elizabeth and the Duke of Edinburgh, Leonard Bernstein conducted a gala concert on 6 May with three of his most important works: the Chichester Psalms, the Serenade for Violin and Orchestra, and the Second Symphony, entitled “The Age of Anxiety”. The soloists in these concerts were Gidon Kremer (violin), Krystian Zimerman (piano) and Aled Jones (voice).
Bernstein, Serenade (after Plato’s “Symposium”)
Bernstein’s Serenade was recorded live with the London Symphony Orchestra during the Leonard Bernstein Festival which took place at London’s Barbican Centre in May 1986. In the presence of Queen Elizabeth and the Duke of Edinburgh, Leonard Bernstein conducted a gala concert on 6 May with three of his most important works: the “Chichester Psalms”, the Serenade for Violin and Orchestra, and the Second Symphony, entitled “The Age of Anxiety”. The soloists in these concerts were Gidon Kremer (violin), Krystian Zimerman (piano) and Aled Jones (voice).
Piazzolla, The next Tango
Piazzolla, Concerto for Bandoneon and Orchestra
“I began my musical training with Alberto Ginastera. From him I learned the importance of grasping music. On this basis I began to make new arrangements. I composed even string quartets for the members of my tango orchestra. My arrangements were however, ahead of their time, and I soon had to realize that my music was not appreciated by all. This is the same today. In Argentina one can change everything, only not the tango. That was so back then, as if I had taken on another faith, as if I had converted from Christianity to Islam or Buddhism. But I had the idea, lucky for me, above all, of changing the tango¿ I enjoy composing. I do not limit myself to writing concertante or symphonic music, I write everything with pleasure¿ Whoever wants to write contemporary music must not lost his identity. I am Argentine and my music has to be Argentine. My music has to breathe the air of my country. Luckily one has always told me: Your music comes from Buenos Aires.” (Astor Piazzolla)
Piazzolla, Concerto for Bandoneon, Guitar and Orchestra – Adiós Nonino (Tango)
“I began my musical training with Alberto Ginastera. From him I learned the importance of grasping music. On this basis I began to make new arrangements. I composed even string quartets for the members of my tango orchestra. My arrangements were however, ahead of their time, and I soon had to realize that my music was not appreciated by all. This is the same today. In Argentina one can change everything, only not the tango. That was so back then, as if I had taken on another faith, as if I had converted from Christianity to Islam or Buddhism. But I had the idea, lucky for me, above all, of changing the tango¿ I enjoy composing. I do not limit myself to writing concertante or symphonic music, I write everything with pleasure¿ Whoever wants to write contemporary music must not lost his identity. I am Argentine and my music has to be Argentine. My music has to breathe the air of my country. Luckily one has always told me: Your music comes from Buenos Aires.” (Astor Piazzolla)