Single Voice Polyphony Vol.1 – J. S. Bach: Six Suites for cello solo Gavriel Lipkind

• CD 1 Suite no.1 G Major bwv 1007
• 1 I. Prelude 02:38
• 2 II. Allemande 05:58
• 3 III. Courante 02:33
• 4 IV. Sarabande 04:07
• 5 V. Menuet I-II 04:08
• 6 VI. Gigue 01:44
• CD 1 Suite no.2 D minor bwv 1008
• 7 I. Prelude 04:15
• 8 II. Allemande 04:02
• 9 III. Courante 02:18
• 10 IV. Sarabande 05:47
• 11 V. Menuet I-II 03:32
• 12 VI. Gigue 03:14
• 13 I. Prelude 03:38
• 14 II. Allemande 04:16
• 15 III. Courante 02:54
• 16 IV. Sarabande 04:46
• 17 V. Bourree I-II 03:36
• 18 VI. Gigue 03:06
• 19 I. Prelude 03:08
• 20 II. Allemande 04:54
• 21 III. Courante 03:55
• 22 IV. Sarabande 04:49
• 23 V. Bourree I-II 05:53
• 24 VI. Gigue 02:17
• 25 I. Prelude 06:40
• 26 II. Allemande 08:17
• 27 III. Courante 02:34
• 28 IV. Sarabande 04:27
• 29 V. Gavotte I-II 04:38
• 30 VI. Gigue 02:27
• 31 I. Prelude 04:44
• 32 II. Allemande 12:02
• 33 III. Courante 03:34
• 34 IV. Sarabande 06:43
• 35 V. Gavotte I-II 04:23
• 36 VI. Gigue 03:45
• Total Runtime 02:35:42

Info for Single Voice Polyphony Vol.1 – J. S. Bach: Six Suites for cello solo

The present recording is the first of several volumes to be released under the title Single-Voice Polyphony. Also known as Latente (latent) or Schein (deceptive) polyphony among German theorists, this term denotes the mental co-existence of multiple “voices” within a single musical line. This enchanting quality of our “inner ear” – a quality that needs to be developed and cultivated – is a prerequisite for contrapuntal awareness and polyphonic hearing. In fact, single-voice polyphony is an indivisible part of writing a good melody and an imminent aspect of linearity in music in general. This aspect was one of my main interests which led to this radical occupation with the cello suites.

It is phenomenal instrumental playing with a world of rich color variations of sound and full of shades and nuances of dynamics and expression. Though Gavriel’s performance may sometimes offend the purists, in that it goes against the grain, it is musically never boring. Always fascinating (“never a dull moment”), his playing is a unique, creative, imaginative, rich personal artistic expression of the world of Bach and the Baroque.

The realization that a single melody contains polyphonic aspects within itself was (and still is) fundamental to the correct understanding of voice-leading as the Bach dynasty of musicians learned and practiced it. It is also an invaluable tool for developing a unified outlook on “polyphony” as a musical as well as a global (social, psychological, psycho acoustical …) phenomenon. Single-voice polyphony or, as Yizhak Sadai terms it, melodic polyphony1, is more than a technical term. It is a fundamental facet of any musical tissue. It used to be a branch of musical analysis exploring the relationship between simultaneously present voices, which are innerly heard within one melody. The splitting, merging, interweaving, and clashing of those voices brought about the early study of counterpoint.

'Gavriel Lipkind generously shares every step of a brave discovery journey towards a unifying idea about the cello suites both in his texts and playing. Every single interpretative element is reavaluated. With the elegance of a medieval spiritualist and a clear and open mind of a modern scientist Gavriel exposes new levels of inter-dependency in the musical text, a complete and consequent cyclic structure, uncompromising voice-leading, and unparalleled instrumental skills to express these ideas in his playing.'

'A revolutionary reassessment of one of the most recorded pieces for string instruments'

Gavriel Lipkind, Cello

Produced by Christoph Classen: Recording Production, Balance Engineering, Editing
Location: Protestant Church of the Parish of Oberstedten-Oberursel, Germany
Production Coordinator: Christiane Tilse
Executive Producer: Gavriel Lipkind

Gavriel Lipkind, born in Tel Aviv in 1977, enjoyed an early stellar rise to international renown as a young cellist, before making the decision to question a predefined life and halt a predictable path. He decided to take a three-year period of retreat from stage life, during which he devoted himself to further studies and recording. An iconoclastic thinker, Mr. Lipkind’s work today stands for consistent thought and intrinsic musical inspiration without compromising quality — an almost unattainable goal in the life of performing soloists today. Being a genuine fanatic of musical detail and audio documentation, Mr. Lipkind has chosen a radical path of innovation in his profession.

Gavriel Lipkind plays a unique Italian cello labeled "Aloysius Michael Garani (Bologna, 1702)" estimated, however, to have been completed in the years 1670-1680. An enigma which has come to be known as "the Zihrhonheimer cello". The Zihrhonheimer Cello could become an inseparable part of Mr. Lipkind's music making thanks to the generous support of M. & D. P.

Booklet for Single Voice Polyphony Vol.1 – J. S. Bach: Six Suites for cello solo