» » Bach: Cello Suites Nos. 1, 3, 4
full-dateMP3 1260 mb. | FLAC 1452 mb. | WMA: 1896 mb.

Bach: Cello Suites Nos. 1, 3, 4 flac album

Bach: Cello Suites Nos. 1, 3, 4 flac album Title: Bach: Cello Suites Nos. 1, 3, 4
Duration: 01:02:32
Relesed: 2003
Rating: 4.9
Votes: 769
Other formats: DMF MP3 RA MP1 AAC DXD

The six Cello Suites, BWV 1007-1012, are suites for unaccompanied cello by Johann Sebastian Bach. They are some of the most frequently performed and recognizable solo compositions ever written for cello. Bach most likely composed them during the period 1717–23, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass).

Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande. J. Bach: Bach Muzyk for French Horn.

Get the Tempo of the tracks from Cello Suites Nos. 2, 3 & 4 (2005) by Johann Sebastian Bach. This album has an average beat per minute of 115 BPM (slowest/fastest tempos: 76/174 BPM). See its BPM profile at the bottom of the page. Tracklist Cello Suites Nos. 2, 3 & 4. 1. Suite für Violoncello solo No. 2 d-Moll, BWV 1008: Prélude.

3 For Cello and Piano (Grädener). 4 For Violin (David). 5 For Violin (Ebner). 6 For Violin (Icking). 반주 첼로 모음곡(바흐); Suites per a violoncel sol de Bach; Suite per violoncello solo; Sei suites a violoncello solo senza basso; Sei suites per violoncello solo; Bachsuiten; Cellosuite; Seks Suitar for Cello; Suity pro violoncello.

Album · 2006 · 36 Songs. Bach, JS : Cello Suite N. in G major BWV1007 : II Allemande. 3. in G major BWV1007 : III Courante. 4. in G major BWV1007 : IV Sarabande. 5. in G major BWV1007 : V Menuets I & II. 3:11.

The Six Suites for Unaccompanied Cello by Johann Sebastian Bach are acclaimed as some of the greatest works ever written for solo cello. They were most likely composed during the period 1717–1723, when Bach served as a Kapellmeister in Cöthen. This album is perhaps the best instance of a self-contained tribute, education and showcase of its music and performer. Wispelwey is aware even of the dangers of writing on this macroscopic music, when he describes the music as "less pompous than the words it can tempt us to us.

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