Composer: Peter Gregson, Johann Sebastian Bach
Audio CD
Number of Discs: 2
Format: FLAC (tracks)
Label: Deutsche Grammophon
Size: 2.16 GB
Recovery: +3%
Scan: cover
Cello Suite No. 1 in G Major, BWV 1007
01. 1.1 Prelude
02. 1.2 Allemande
03. 1.3 Courante
04. 1.4 Sarabande
05. 1.5 Menuetts
06. 1.6 Gigue
Cello Suite No. 2 in D Minor, BWV 1008
07. 2.1 Prelude
08. 2.2 Allemande
09. 2.3 Courante
10. 2.4 Sarabande
11. 2.5 Menuetts
12. 2.6 Gigue
Cello Suite No. 3 in C Major, BWV 1009
13. 3.1 Prelude
14. 3.2 Allemande
15. 3.3 Courante
16. 3.4 Sarabande
17. 3.5 Bourrées
18. 3.6 Gigue
Cello Suite No. 4 in E-Flat Major, BWV 1010
19. 4.1 Prelude
20. 4.2 Allemande
21. 4.3 Courante
22. 4.4 Sarabande
23. 4.5 Bourrées
24. 4.6 Gigue
Cello Suite No. 5 in C Minor, BWV 1011
25. 5.1 Prelude
26. 5.2 Allemande
27. 5.3 Courante
28. 5.4 Sarabande
29. 5.5 Gavottes
30. 5.6 Gigue
Cello Suite No. 6 in D Major, BWV 1012
31. 6.1 Prelude
32. 6.2 Allemande
33. 6.3 Courante
34. 6.4 Sarabande
35. 6.5 Gavottes
36. 6.6 Gigue
Peter Gregson, cello
Richard Harwood, cello
Ben Chappell, cello
Reinoud Ford, cello
Katherine Jenkinson, cello
Tim Lowe, cello
Award-winning cellist and composer Peter Gregson is the latest contemporary composer to be invited by Deutsche Grammophon to reinterpret iconic works in the classical canon for their pioneering Recomposed series. Gregson follows in the footsteps of contemporaries Matthew Herbert, Matthias Arfmann, Jimi Tenor and Max Richter, whose Recomposed by Max Richter – Vivaldi: The Four Seasons was the latest, hugely popular release in the series.
For his record, Gregson has ‘recomposed’ perhaps the best-loved of all works for his instrument, the Bach Cello Suites. His approach was to retain the shape and flow of the suites, whilst still allowing his own aesthetic to come through. Gregson’s reinterpretation adds a new instrumental dimension, reimagining them for a five-person cello ensemble, analogue synthesizers and his own solo cello. The recording was made at the infamous AIR Studios in London with complex and high production values that made use of the physical space. The five cellists were widely dispersed throughout the studio galleries and Gregson turned the variety of analogue synthesizers, which he played himself, into acoustic instruments by re-amplifying them. The result is a multilayered sound that brings a new aural dimension to the works.