J.S. Bach: The Cello Suites According to Anna Magdalena Matt Haimovitz

• Johann Sebastian Bach (1685-1750): Suite I in G Major, BWV 1007
• 1 I. Prelude 02:17
• 2 II. Allemande 04:06
• 3 III. Courante 02:45
• 4 IV. Sarabande 02:35
• 5 V. Menuet I-II 03:43
• 6 VI. Gigue 01:51
• Suite II in D Minor, BWV 1008
• 7 I. Prelude 04:06
• 8 II. Allemande 03:22
• 9 III. Courante 02:05
• 10 IV. Sarabande 04:27
• 11 V. Menuet I-II 03:16
• 12 VI. Gigue 02:26
• Suite III in C Major, BWV 1009
• 13 I. Prelude 03:25
• 14 II. Allemande 04:06
• 15 III. Courante 02:43
• 16 IV. Sarabande 03:54
• 17 V. Bourree I-II 04:05
• 18 VI. Gigue 03:16
• Suite IV in E-flat Major, BWV 1010
• 19 I. Prelude 03:31
• 20 II. Allemande 04:27
• 21 III. Courante 03:40
• 22 IV. Sarabande 03:49
• 23 V. Bourree I-II 05:02
• 24 VI. Gigue 02:47
• Suite V in C Minor, BWV 1011
• 25 I. Prelude 05:25
• 26 II. Allemande 04:32
• 27 III. Courante 02:18
• 28 IV. Sarabande 04:00
• 29 V. Gavotte I-II 04:48
• 30 VI. Gigue 03:09
• Suite VI in D Major, BWV 1012
• 31 I. Prelude 04:21
• 32 II. Allemande 07:04
• 33 III. Courante 03:35
• 34 IV. Sarabande 04:40
• 35 V. Gavotte I-II 04:16
• 36 VI. Gigue 04:03
• Total Runtime 02:13:55

Info zu J.S. Bach: The Cello Suites According to Anna Magdalena

Fresh off the heels of his revelatory period-instrument recording of the complete Beethoven Sonatas and Variations with Christopher O’Riley, Beethoven, Period., Haimovitz releases J.S. Bach: The Cello Suites according to Anna Magdalena on baroque cello and cello piccolo, the five-string instrument for which Bach’s Suite VI was likely intended.

The original manuscript of J.S. Bach’s 6 Suites for Cello Solo has been lost to history. One of our only apostles is a copy made by Anna Magdalena, Bach’s second wife, her handwriting uncanny in its likeness to the composer’s own. Since 1890, when Casals found a published copy in a second-hand music shop and first performed the suites in public 20 years later, the suites have been both Bible and Holy Grail of the solo cello repertoire – each cellist searching for his own way into the heart of this music.Cellist Matt Haimovitz has been closely associated with the Bach suites since the year 2000, when the former child prodigy jump-started the alt-classical revolution by performing the complete cycle in folk clubs and rock venues, including New York’s now-defunct punk palace CBGB’s. That same year, he released a 3-CD set of the Suites that launched the newborn Oxingale Records.

Now, 15 years later, Haimovitz returns to The Cello Suites with a stunning new interpretation, intimately informed by Anna Magdalena’s manuscript and the tools of the time.

Matt Haimovitz, baroque cello, cello piccolo

Matt Haimovitz
is acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal.

Mr. Haimovitz made his debut in 1984, at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon (Universal Classics) with James Levine and the Chicago Symphony Orchestra. Haimovitz made his Carnegie Hall debut when he substituted for his teacher, the legendary Leonard Rose, in Schubert’s String Quintet, alongside Isaac Stern, Mstislav Rostropovich, Pinchas Zukerman and Shlomo Mintz.

Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutche Grammophon and his own Oxingale Records. His recent release Meeting of the Spirits was nominated for a GRAMMY® for Best Classical Crossover Album and won a GRAMMY® for Best Producer of the Year (Classical). A new recording with pianist Christopher O’Riley, Shuffle.Play.Listen, celebrating the evolution of the listening experience since the iPod, has received unanimous acclaim. In fall 2012 Haimovitz will be featured as soloist in three world-premiere concerto recordings, Paul Moravec’s Montserrat, Laura Schwendinger’s Esprimere, and Philip Glass’ Cello Concerto No. 2 recorded live with the Cincinnati Symphony and Dennis Russell Davis.

The solo cello recital is a Haimovitz trademark, both inside and outside the concert hall. In 2000, he made waves with his Bach “Listening-Room” Tour, for which, to great acclaim, Haimovitz took Bach’s beloved cello suites out of the concert hall and into clubs. He was the first classical artist to play at New York’s infamous CBGB club, in a performance filmed by ABC News for “Nightline UpClose.”

Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, the Diapason d'Or, the Premio Internazionale "Accademia Musicale Chigiana". He was in the final studio of legendary cellist Leonard Rose at the Juilliard School and received a B.A. magna cum laude with highest honors from Harvard University. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.

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