Bach: Cello Suites, BWVV 1007-1012 Alisa Weilerstein
- Johann Sebastian Bach (1685 -1750): Cello Suite No. 1 in G Major, BWV 1007:
- 1Cello Suite No. 1 in G Major, BWV 1007: I. Prélude02:38
- 2Cello Suite No. 1 in G Major, BWV 1007: II. Allemande05:48
- 3Cello Suite No. 1 in G Major, BWV 1007: III. Courante02:55
- 4Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande03:38
- 5Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II03:34
- 6Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue02:04
- Cello Suite No. 3 in C Major, BWV 1009:
- 7Cello Suite No. 3 in C Major, BWV 1009: I. Prélude03:45
- 8Cello Suite No. 3 in C Major, BWV 1009: II. Allemande04:43
- 9Cello Suite No. 3 in C Major, BWV 1009: III. Courante02:07
- 10Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande05:09
- 11Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II04:06
- 12Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue03:19
- Cello Suite No. 6 in D Major, BWV 1012:
- 13Cello Suite No. 6 in D Major, BWV 1012: I. Prélude05:50
- 14Cello Suite No. 6 in D Major, BWV 1012: II. Allemande09:03
- 15Cello Suite No. 6 in D Major, BWV 1012: III. Courante04:23
- 16Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande05:27
- 17Cello Suite No. 6 in D Major, BWV 1012: V. Gavottes I & II04:31
- 18Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue04:42
- Cello Suite No. 2 in D Minor, BWV 1008:
- 19Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude04:36
- 20Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande04:03
- 21Cello Suite No. 2 in D Minor, BWV 1008: III. Courante02:07
- 22Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande06:15
- 23Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II03:23
- 24Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue03:06
- Cello Suite No. 4 in E-Flat Major, BWV 1010:
- 25Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude04:34
- 26Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande04:49
- 27Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante04:15
- 28Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande05:25
- 29Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II05:48
- 30Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue02:59
- Cello Suite No. 5 in C Minor, BWV 1011:
- 31Cello Suite No. 5 in C Minor, BWV 1011: I. Prélude07:40
- 32Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande07:19
- 33Cello Suite No. 5 in C Minor, BWV 1011: III. Courante02:08
- 34Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande05:28
- 35Cello Suite No. 5 in C Minor, BWV 1011: V. Gavottes I & II05:11
- 36Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue02:51
Info zu Bach: Cello Suites, BWVV 1007-1012
After her acclaimed PENTATONE debut with Transfigured Night, Alisa Weilerstein returns with a complete recording of Bach’s Cello Suites. These pieces present the highest mountain to climb for any cellist, and one of the most transcendent and rewarding experiences for listeners alike. With his suites, Bach crafted — essentially without direct precedent — a body of solo cello music that forever defined the genre and brought the Baroque cello on par with its more popular cousin, the viola da gamba. Since Pablo Casals put them in the limelight again after 150 years of relative oblivion, Bach’s suites have become the alpha and omega for generations of cellists. To Weilerstein, the joy of this music — vibrant, contemporary, unquestionably alive — is the joy of discovery. Having heard and studied these pieces for years, she now entrusts her interpretation to the listener.
Since signing an exclusive contract with PENTATONE, Alisa Weilerstein has released Transfigured Night (2018), and featured on Inon Barnatan’s Beethoven Piano Concertos Part 1 as well as Old Souls, an album with music for flute and strings (both released in 2019).
“It’s like Transcendental Meditation, almost, this incredible arc,” said Alisa Weilerstein to the New York Times about performing Bach’s six unaccompanied cello suites. One of the leading talents of her generation returns for her fourth Celebrity Series appearance playing arguably the pinnacle of the cello lexicon. A must-have!
“The Bach cello suites present the player with infinite possibilities. Each note, each phrase, carries abundant varieties of expression and musical nuance. The suites are too rich with ideas, too full of subtleties, and too dense with the burden of history for any particular interpretation to be exhaustive, any particular choice definitive. All great pieces of music carry with them this sense of contradiction—they must be played, yet they can’t be played. Every expressive gesture both realizes and limits the intentions of the composer.
“With their delicacy and nakedness, their strength and restraint, the cello suites present a unique and humbling challenge. After many years telling family, friends, and myself that I would attempt a recording only when I was much older, I decided that what had seemed like prudence was, in fact, a misunderstanding of the suites’ nature. The intrinsic impossibility of this music is the very source of its freedom.
“I have been living with these suites since further back than memory can reach, and I have grown with them throughout my life with the cello. Great music is a reflection of life as it is lived, and this recording is a reflection of myself, in 2019, at 37 years old, steeped in and still discovering Bach’s unparalleled accomplishment.” (Alisa Weilerstein)
Alisa Weilerstein, cello
American cellist Alisa Weilerstein has attracted widespread attention worldwide for her combination of natural virtuosic command and technical precision with impassioned musicianship. The intensity of her playing has regularly been lauded, as has the spontaneity and sensitivity of her interpretations. Following her Zankel Hall recital debut, New York Magazine wrote: “Whatever she plays sounds custom-composed for her, as if she has a natural affinity with everything.”
Weilerstein was born in 1982 into a distinguished musical family (her father Donald was first violin in the Cleveland Quartet; her mother is the noted pianist Vivian Weilerstein). She made her professional debut with the Cleveland Orchestra when she was 13 and her Carnegie Hall debut with the New York Youth Orchestra in March 1997. In 2000 she received an Avery Fisher Career Grant and in 2000-01 she was selected for two prestigious young artists programmes: the ECHO (European Concert Hall Organization) “Rising Stars” recital series and the Chamber Music Society of Lincoln Center’s Chamber Music Society Two. In May 2004, she graduated from Columbia University in New York with a degree in Russian History. She was named the winner of the 2006 Leonard Bernstein Award, and in 2008 she was awarded Lincoln Center’s Martin E. Segal prize for exceptional achievement. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, she was appointed artist-in-residence at the institute beginning August 2009.
In November 2009, Alisa Weilerstein was one of four artists selected to participate in a White House classical music event that included student workshops hosted by the First Lady, Michelle Obama, and playing for guests including President Obama and the First Family. In December 2009 she was the soloist on a tour of Venezuela with the Simón Bolívar Symphony Orchestra and Gustavo Dudamel.
Another milestone in her career came in spring 2010: Weilerstein made her Berlin Philharmonic debut playing the Elgar Concerto with conductor Daniel Barenboim; the concert was repeated in Oxford, televised live around the world and later issued on DVD. The Guardian reviewer of the Oxford concert wrote: “Alisa Weilerstein gave the most technically complete and emotionally devastating performance of Elgar’s Cello Concerto that I have ever heard live.” In August of that year, Weilerstein made her BBC Proms debut with the Minnesota Orchestra and Osmo Vänskä playing Shostakovich’s Cello Concerto No. 1, a work she performed in spring 2011 with the St. Petersburg Philharmonic under Yuri Temirkanov on a US tour.
Alisa Weilerstein signed an exclusive contract with Decca Classics in 2011. Her first recording under the agreement, a coupling of the concertos by Elgar and Elliott Carter, with Barenboim conducting the Berlin Staatskapelle, was released in January 2013. The New York Times acclaimed “the soloist’s superb control keenly matched by the conductor’s insightful support”. In April 2014 (US pre-release in January) Decca will issue her new recording of the Dvořák Cello Concerto, with Jiří Bělohlávek conducting the Czech Philharmonic Orchestra, and October will bring the release of her first solo album.
Alisa Weilerstein has already appeared with all of the other major orchestras throughout North America and Europe, with conductors including Marin Alsop, Pablo Heras-Casado, Sir Andrew Davis, Sir Mark Elder, Christoph Eschenbach, Manfred Honeck, Marek Janowski, Paavo Järvi, Jeffrey Kahane, Lorin Maazel, Zubin Mehta, Ludovic Morlot, Tadaaki Otaka, Peter Oundjian, Matthias Pintscher, Yuri Temirkanov, Juraj Valcuha, Simone Young and David Zinman. She also appears at major music festivals throughout the world as a soloist, recitalist and chamber player, including as part of a core group of musicians at the Spoleto Festival USA and performing with her parents, Donald and Vivian Hornik Weilerstein, as the Weilerstein Trio.
Committed to expanding the cello repertoire, Ms. Weilerstein is a fervent champion of new music. She has performed Osvaldo Golijov’s Azul for cello and orchestra around the world. She also frequently performs Golijov’s Omaramor for solo cello. In 2008 she gave the world premiere of Lera Auerbach’s 24 Preludes for cello and piano with the composer at the Caramoor Festival.
Highlights of Alisa Weilerstein’s 2012-13 season included North American and European tours with pianist Inon Barnatan and her debut with the Academy of St. Martin in the Fields for a 16-city United States tour. She gave concerts in Berlin performing the Elliott Carter Cello Concerto with Daniel Barenboim and the Berlin Staatskapelle, appeared with Gianandrea Noseda and the Philadelphia Orchestra, made her debut with conductor Lionel Bringuier and the Atlanta Symphony and performed at the Kennedy Center with Christoph Eschenbach and the National Symphony Orchestra. Her festival appearances in summer 2013 included Ravinia, Vail, Aspen, Grand Teton, Bonn Beethovenfest, Tivoli and Aarhus.
In the 2013/14 season Ms. Weilerstein is artist-in-residence with the Cincinnati Symphony Orchestra and has engagements with the Toronto, San Francisco, Boston, Dallas and Chicago symphonies and the New York, Los Angeles, Oslo and Israel philharmonic orchestras. Further plans include performances with the Australian Chamber, Philharmonia, Hallé and Zurich Tonhalle orchestras, the Netherlands Philharmonic and the NHK Symphony Orchestra as well as recitals in Europe and North America.