Artist: Thomas Demenga
Album: J.S. Bach Suiten für Violoncello
Genre: Classical
Release Date: 2017
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 02:08:57
Total Tracks: 36
Total Size: 2,33 GB

Tracklist:

1-01. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 I. Prelude (02:17)
1-02. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 II. Allemande (04:06)
1-03. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 III. Courante (02:23)
1-04. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 IV. Sarabande (02:26)
1-05. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 V. Menuet 1 – VI. Menuet 2 (03:18)
1-06. Thomas Demenga – Cello Suite No. 1 in G Major, BWV 1007 VII. Gigue (01:38)
1-07. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 I. Prelude (03:55)
1-08. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 II. Allemande (03:42)
1-09. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 III. Courante (01:58)
1-10. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 IV. Sarabande (03:49)
1-11. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 V. Menuet 1 – VI. Menuet 2 (03:00)
1-12. Thomas Demenga – Cello Suite No. 2 in D Minor, BWV 1008 VII. Gigue (02:44)
1-13. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 I. Prelude (03:07)
1-14. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 II. Allemande (03:48)
1-15. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 III. Courante (02:55)
1-16. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 IV. Sarabande (03:29)
1-17. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 V. Bourree 1 – VI. Bourree 2 (03:35)
1-18. Thomas Demenga – Cello Suite No. 3 in C Major, BWV 1009 VII. Gigue (03:13)
1-19. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 I. Prelude (03:50)
1-20. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 II. Allemande (04:10)
1-21. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 III. Courante (03:17)
1-22. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 IV. Sarabande (03:07)
1-23. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 V. Bourree 1 – VI. Bourree 2 (04:25)
1-24. Thomas Demenga – Cello Suite No. 4 in E-Flat Major, BWV 1010 VII. Gigue (02:58)
1-25. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 I. Prelude (05:37)
1-26. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 II. Allemande (04:39)
1-27. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 III. Courante (02:11)
1-28. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 IV. Sarabande (03:13)
1-29. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 V. Gavotte 1 – VI. Gavotte 2 (04:45)
1-30. Thomas Demenga – Cello Suite No. 5 in C Minor, BWV 1011 VII. Gigue (02:32)
1-31. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 I. Prelude (04:34)
1-32. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 II. Allemande (08:12)
1-33. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 III. Courante (03:31)
1-34. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 IV. Sarabande (04:52)
1-35. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 V. Gavotte 1 – VI. Gavotte 2 (03:09)
1-36. Thomas Demenga – Cello Suite No. 6 in D Major, BWV 1012 VII. Gigue (04:14)

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The Swiss cellist (and composer) Thomas Demenga (*1954) is an artist on the world stage who defies classification: at once at ease in the most groundbreaking contemporary performances – we owe him many recordings of Cage, Holliger, Messiaen, Yun, Pärt, Zimmermann etc. – and in the classical repertoire, from Bach to Schubert, from Vivaldi to Mendelssohn, from Dvořák to Tchaikovsky. This is his completely new reading of Bach’s Suites, which he gives with an immense, almost-improvisational freedom, even if he respects the texts to the letter: it is all in the accents, the rubatos, the articulations and the phrasing that he gives his imagination free rein, as if the ink wasn’t even yet dry on these master-works. We are a long way, here, from some “cleaner”, more “classic”, “polished” readings from some great predecessors. But in reality, this music is sufficiently rich and ample to be seen from a thousand angles without losing any of its shine. Demenga, a disciple of Rostropovitch, Antonio Janigro and Leonard Rose, has entered a kind of pantheon, where he can bear comparison with any number of the greats. The deliberately rather low range which he has chosen lends greater depth and an uncharacteristically darker tone to his readings.