℗ 2023 IBS Artist
Released | April 20, 2023 |
Duration | 2h 20m 46s |
Record Label | IBS Classical |
Catalogue No. | IBS52023 |
Genre | Classical (Baroque) |
Bach Complete Violin Sonatas & Partitas
Pablo Suárez Calero
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
Violin Sonata No.1 in G Minor, BWV 1001
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1.1
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I.Adagio
Johann Sebastian Bach; Pablo Suárez Calero |
3:52 | |||
1.2
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II. Fugue
Johann Sebastian Bach; Pablo Suárez Calero |
5:06 | |||
1.3
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III. Sicilienne
Johann Sebastian Bach; Pablo Suárez Calero |
3:09 | |||
1.4
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IV. Presto.wav
Johann Sebastian Bach; Pablo Suárez Calero |
3:41 | |||
Violin Partita No.1 in B Minor, BWV 1002
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1.5
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I. Allemande
Johann Sebastian Bach; Pablo Suárez Calero |
6:46 | |||
1.6
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I. Double
Johann Sebastian Bach; Pablo Suárez Calero |
3:04 | |||
1.7
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II. Corrente
Johann Sebastian Bach; Pablo Suárez Calero |
3:08 | |||
1.8
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II. Double
Johann Sebastian Bach; Pablo Suárez Calero |
3:38 | |||
1.9
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V. Sarabande
Johann Sebastian Bach; Pablo Suárez Calero |
3:51 | |||
1.10
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VI. Double
Johann Sebastian Bach; Pablo Suárez Calero |
2:22 | |||
1.11
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VII. Tempo di Borea
Johann Sebastian Bach; Pablo Suárez Calero |
3:38 | |||
1.12
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VIII. Double
Johann Sebastian Bach; Pablo Suárez Calero |
3:34 | |||
Violin Sonata No.2 in A Minor, BWV 1003
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1.13
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I. Grave
Johann Sebastian Bach; Pablo Suárez Calero |
3:50 | |||
1.14
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II. Fugue
Johann Sebastian Bach; Pablo Suárez Calero |
8:39 | |||
1.15
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III. Andante
Johann Sebastian Bach; Pablo Suárez Calero |
5:00 | |||
1.16
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IV. Allegro
Johann Sebastian Bach; Pablo Suárez Calero |
6:37 | |||
Violin Partita No.2 in D Minor, BWV 1004
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2.1
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I. Allemande
Johann Sebastian Bach; Pablo Suárez Calero |
4:20 | |||
2.2
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II. Corrente
Johann Sebastian Bach; Pablo Suárez Calero |
2:28 | |||
2.3
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III. Sarabande
Johann Sebastian Bach; Pablo Suárez Calero |
3:38 | |||
2.4
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IV. Giga
Johann Sebastian Bach; Pablo Suárez Calero |
4:01 | |||
2.5
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V. Ciaccona
Johann Sebastian Bach; Pablo Suárez Calero |
14:40 | |||
Violin Sonata No.3 in C Major, BWV 1005
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2.6
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I. Adagio
Johann Sebastian Bach; Pablo Suárez Calero |
3:56 | |||
2.7
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II. Fugue
Johann Sebastian Bach; Pablo Suárez Calero |
11:40 | |||
2.8
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III. Largo
Johann Sebastian Bach; Pablo Suárez Calero |
3:33 | |||
2.9
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IV. Allegro
Johann Sebastian Bach; Pablo Suárez Calero |
5:09 | |||
Violin Partita No.3 in E Major, BWV 1006
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2.10
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I. Prelude
Johann Sebastian Bach; Pablo Suárez Calero |
3:41 | |||
2.11
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II. Loure
Johann Sebastian Bach; Pablo Suárez Calero |
4:36 | |||
2.12
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III. Gavotte en rondeau
Johann Sebastian Bach; Pablo Suárez Calero |
2:56 | |||
2.13
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IV. Menuet I
Johann Sebastian Bach; Pablo Suárez Calero |
1:33 | |||
Violin Partita No. 3 in E Major, BWV 1006
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2.14
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V. Menuet II
Johann Sebastian Bach; Pablo Suárez Calero |
1:26 | |||
Violin Partita No.3 in E Major, BWV 1006
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2.15
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VI. Bourée
Johann Sebastian Bach; Pablo Suárez Calero |
1:22 | |||
2.16
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VII. Gigue
Johann Sebastian Bach; Pablo Suárez Calero |
1:52 | |||
Digital Booklet
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In this album, the Spanish violinist Pablo Suárez (Madrid, 1982) presents the complete collection of the Six sonatas and partitas for solo violin by Johann Sebastian Bach founded on one of his most profound, ambitious and personal approaches, Sei Solo. It is a proposal including not only the performance of the composer’s original music, but also the contributions offered by the researcher Helga Thoene which are based on the discovery of the possible existence, among some of the movements, of chorales by the composer himself. For this, she has counted on the collaboration of the soprano Manon Chauvin, the countertenor Gabriel Díaz, the tenor Fran Braojos, the bass Simón Millán and the cellist Marco Pannaría. The delicate textures of the vocal registers, combined with the solemnity of the cello, represent a perfect complement for this original purpose.
With this idea, the Madrid-born musician introduces himself into the most intimate, human, introspective and sentimental language of the German composer’s personality, grounding his interpretation on a wide spectrum of colours, essences, nuances and timbres provided both by the placement of gut strings in the instrument used (a Nicola Gagliano violin dated 1780 in Naples) and by the natural acoustics of the environment selected for this project (the interior of the Church of Nuestra Señora de la Paz in the town of Gójar in Granada). The sonority, which has been created taking into consideration characteristics quite similar to those that could be found in 18th century instruments, finds its particular personality in parameters such as luminosity, clarity, definition and direction, through a performance in which excellent technical mastery, together with marvellous control in the development of the music, allow harmonic, melodic, affective and sensorial gestures to predominate at all times. The path taken in the CD also moves away from any kind of unnecessary artifice or any overloaded ornamentation in order to show us the most genuinely particular and emotional Bach, who, apart from the characteristics of the artistic idiosyncrasies that made up his production (generally in the form of a stylistic compendium of his time), also offers in this work his vision of life, death, destiny, spirituality and a way of understanding reality that remained conditioned by the events which had shaped his existence.
96 kHz / 24-bit PCM – IBS Classical Studio Masters
Disc 2, Tracks 1-16; Disc 1, Tracks 1-16 – contains material which utilizes a limited amount of the available bandwidth
Disc 2, Tracks 1-16; Disc 1, Tracks 1-16 – contains material which utilizes a limited amount of the available bandwidth
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.69 -6.17 to -1.42 | -22.11 -24.23 to -18.50 | -18.88 -20.90 to -15.60 | 11 10 to 13 | |
1.1 | I.Adagio | -5.06 | -23.67 | -19.9 | 12 |
1.2 | II. Fugue | -3.18 | -20.38 | -17.3 | 11 |
1.3 | III. Sicilienne | -5.44 | -23.16 | -20.1 | 11 |
1.4 | IV. Presto.wav | -4.39 | -21.68 | -18.7 | 11 |
1.5 | I. Allemande | -5.30 | -22.07 | -18.7 | 11 |
1.6 | I. Double | -6.17 | -24.23 | -20.9 | 12 |
1.7 | II. Corrente | -4.10 | -21.29 | -18.1 | 11 |
1.8 | II. Double | -5.08 | -23.62 | -20.5 | 13 |
1.9 | V. Sarabande | -4.76 | -23.10 | -19.4 | 12 |
1.10 | VI. Double | -5.56 | -22.10 | -19.0 | 11 |
1.11 | VII. Tempo di Borea | -3.48 | -20.06 | -16.8 | 12 |
1.12 | VIII. Double | -4.42 | -21.35 | -18.0 | 11 |
1.13 | I. Grave | -5.22 | -24.03 | -20.5 | 12 |
1.14 | II. Fugue | -1.42 | -19.43 | -16.5 | 11 |
1.15 | III. Andante | -4.46 | -22.07 | -18.9 | 11 |
1.16 | IV. Allegro | -4.71 | -22.39 | -19.3 | 11 |
2.1 | I. Allemande | -5.87 | -22.54 | -19.5 | 11 |
2.2 | II. Corrente | -5.28 | -23.21 | -20.3 | 12 |
2.3 | III. Sarabande | -5.92 | -23.65 | -20.2 | 11 |
2.4 | IV. Giga | -4.69 | -21.97 | -18.9 | 12 |
2.5 | V. Ciaccona | -2.68 | -19.43 | -16.6 | 11 |
2.6 | I. Adagio | -5.88 | -24.21 | -20.8 | 11 |
2.7 | II. Fugue | -1.74 | -18.50 | -15.6 | 10 |
2.8 | III. Largo | -5.13 | -22.28 | -19.1 | 11 |
2.9 | IV. Allegro | -3.79 | -22.36 | -19.3 | 11 |
2.10 | I. Prelude | -4.83 | -21.62 | -18.4 | 11 |
2.11 | II. Loure | -6.09 | -24.14 | -20.4 | 12 |
2.12 | III. Gavotte en rondeau | -4.60 | -21.36 | -18.1 | 11 |
2.13 | IV. Menuet I | -4.76 | -21.71 | -18.4 | 12 |
2.14 | V. Menuet II | -6.03 | -23.17 | -19.7 | 11 |
2.15 | VI. Bourée | -5.13 | -21.97 | -18.7 | 11 |
2.16 | VII. Gigue | -5.05 | -20.80 | -17.6 | 11 |