The American cellist played three solo cello suites by Bach in the Knight's Room.
Classic
Alisa Weilerstein, cello, in the Ritarihuone-concerts series at Ritarihuone 3.2. – J.S. Bach.
by Johann Sebastian Bach the six solo cello suites were revolutionary works in their time. Bach abandoned the general bass accompaniment and created a genuine polyphonic texture for one string instrument.
For a long time it was thought that solo cello series belong to the high world of the spirit, far from earthly sensations. They were considered architectural, abstract structures and playing them as a kind of devotional exercise.
However, the movement to reform early music has proven some time ago that baroque music is so-called speaking music. The dance parts of Bach's six-part suites express different affects, human feelings.
American Alisa Weilerstein is one of the most prominent interpreters of Bach's solo cello suites of our time. In the last two years, he has presented series in New York, Los Angeles, Tokyo, Manchester and Barcelona, among others.
About two hundred old music lovers had come to listen to Weilerstein in the knight's room, which in today's conditions can be considered a delightfully large number.
Of the six solo cello suites, Weilerstein performed three, Suite No. 2 in D minor, Suite No. 3 in C major, and Suite No. 6 in D major. The wooden hall of the knight's room was a resonating echo chamber.
Weilerstein call the Venetian by Domenico Montagnana 1723 with a grade cello that has been in his use for ten years. He has said that he fell in love with it immediately. The warm-sounding, supple-moving and colorfully singing instrument has a large tonal scale from deep darkness to glowing highs. The tunes ignite and project with apparent ease.
In the preludes of the series, Weilerstein used rhythmic and melodic means to create a radiant microcosm characteristic of each composer. In the prelude of the D minor suite, rhythmic movement was combined with melancholy. The C major prelude created a spacious and festive C major space, while the D major prelude ignited into virtuosic, sparkling energy.
The allemande, courante and sarabande parts of the series are based on the basic national rhythmic nature of each dance, but they took on a more and less contemplative, stylized look.
Polyphony particularly flourished in slow, mystical sarabandes. The sarabande in D major was full of melodic sweetness and the sensual glow of parallel sexts.
A genuine dance pulse and joy were present in the two minuets of the second series, the two bourres of the third series and the gavottes of the sixth series.
Each set ended with a virtuosic swinging, three-part gigue dance of English origin. The sharp-moving Gigue of the D minor series throbbed excitingly violently, while the Gigue of the sixth series charmed with its flighty carefreeness.
As an extra, the most familiar piece of the solo cello series was heard, the prelude of the first, G major series, which breathes the pulsing triad light, which is among cellists' favorites.
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