Bach in Bologna Mauro Valli

Album info

Album-Release:
2019

HRA-Release:
08.02.2019

Label: Arcana

Genre: Classical

Subgenre: Chamber Music

Album including Album cover

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FLAC 96 $ 17.90
  • Domenico Gabrielli (1659 - 1690):
  • 1Ricercar No. 1 in G Minor04:10
  • 2Ricercar No. 6 in G Major06:30
  • Johann Sebastian Bach (1685 - 1750): Cello Suite No. 1, BWV 1007:
  • 3Cello Suite No. 1, BWV 1007: I. Prélude03:15
  • 4Cello Suite No. 1, BWV 1007: II. Allemande04:57
  • 5Cello Suite No. 1, BWV 1007: III. Courante02:57
  • 6Cello Suite No. 1, BWV 1007: IV. Sarabande04:14
  • 7Cello Suite No. 1, BWV 1007: V. Menuet I - II03:24
  • 8Cello Suite No. 1, BWV 1007: VI. Gigue02:01
  • Domenico Gabrielli:
  • 9Ricercar No. 3 in D Major04:16
  • Johann Sebastian Bach: Cello Suite No. 6, BWV 1012:
  • 10Cello Suite No. 6, BWV 1012: I. Prélude05:06
  • 11Cello Suite No. 6, BWV 1012: II. Allemande09:12
  • 12Cello Suite No. 6, BWV 1012: III. Courante04:05
  • 13Cello Suite No. 6, BWV 1012: IV. Sarabande05:19
  • 14Cello Suite No. 6, BWV 1012: V. Gavotte I - II05:07
  • 15Cello Suite No. 6, BWV 1012: VI. Gigue04:31
  • Domenico Gabrielli:
  • 16Canon a due violoncelli in D Major02:17
  • 17Ricercar No. 7 in D Minor07:07
  • Johann Sebastian Bach: Cello Suite No. 6, BWV 1012: Cello Suite No. 2, BWV 1008:
  • 18Cello Suite No. 2, BWV 1008: I. Prélude03:36
  • 19Cello Suite No. 2, BWV 1008: II. Allemande03:24
  • 20Cello Suite No. 2, BWV 1008: III. Courante02:13
  • 21Cello Suite No. 2, BWV 1008: IV. Sarabande04:34
  • 22Cello Suite No. 2, BWV 1008: V. Menuet I - II03:22
  • 23Cello Suite No. 2, BWV 1008: VI. Gigue02:40
  • Domenico Gabrielli:
  • 24Ricercar No. 4 in E-Flat Major06:12
  • Johann Sebastian Bach: Cello Suite No. 4, BWV 1010:
  • 25Cello Suite No. 4, BWV 1010: I. Prélude03:53
  • 26Cello Suite No. 4, BWV 1010: II. Allemande04:06
  • 27Cello Suite No. 4, BWV 1010: III. Courante04:11
  • 28Cello Suite No. 4, BWV 1010: IV. Sarabande05:28
  • 29Cello Suite No. 4, BWV 1010: V. Bourrée I - II05:29
  • 30Cello Suite No. 4, BWV 1010: VI. Gigue03:21
  • Domenico Gabrielli:
  • 31Ricercar No. 5 in C Major02:20
  • Johann Sebastian Bach: Cello Suite No. 3, BWV 1009:
  • 32Cello Suite No. 3, BWV 1009: I. Prélude03:57
  • 33Cello Suite No. 3, BWV 1009: II. Allemande03:39
  • 34Cello Suite No. 3, BWV 1009: III. Courante03:42
  • 35Cello Suite No. 3, BWV 1009: IV. Sarabande05:38
  • 36Cello Suite No. 3, BWV 1009: V. Gavotte I - II03:44
  • 37Cello Suite No. 3, BWV 1009: VI. Gigue03:28
  • Domenico Gabrielli:
  • 38Ricercar No. 2 in A Minor11:01
  • Johann Sebastian Bach: Cello Suite No. 5, BWV 1011:
  • 39Cello Suite No. 5, BWV 1011: I. Prélude06:34
  • 40Cello Suite No. 5, BWV 1011: II. Allemande05:45
  • 41Cello Suite No. 5, BWV 1011: III. Courante02:20
  • 42Cello Suite No. 5, BWV 1011: IV. Sarabande04:05
  • 43Cello Suite No. 5, BWV 1011: V. Gavotte I - II05:10
  • 44Cello Suite No. 5, BWV 1011: VI. Gigue02:54
  • Total Runtime03:15:14

Info for Bach in Bologna



Bach and Gabrielli: the focus of this recording is an unusual musical match involving the famous 6 Suites for violoncello solo by Johann Sebastian Bach and the little-known 7 Ricercari for violoncello solo (1689) by Domenico Gabrielli of Bologna, the first example of a work for unaccompanied cello in history, and thus the only precedent and possible model for the Bach masterpiece. In what ways are the two series of compositions linked? Cellist Mauro Valli is convinced that there is a connection between the two for a number of reasons, including the preponderant correspondence of the keys. Bach assiduously performed and transcribed works by Italian composers, not only those of his contemporaries but also of earlier musicians, so it is highly likely that he was familiar with Gabrielli’s works, in particular with the Ricercari. Mauro Valli provides an intriguingly new interpretation of Bach’s six masterpieces by heralding each one with the corresponding Ricercare. The outcome is strikingly fresh and original, with a wealth of courageously personal diminutions and embellishments that derive from Valli’s deep knowledge of the Italian baroque repertoire. Bach was fascinated by composers such as Frescobaldi, Albinoni and Vivaldi, and it certainly makes good sense to perform his Suites in the Italian style!

Mauro Valli, cello



Mauro Valli
was born in Sant’Agata Feltria, the same birthplace of Angelo Berardi. Valli descend from the great school of the legendary cellist Camillo Oblach, the favourite cellist of Toscanini famous for the magic velvet sound of his playing.

After winning several competitions (Vittorio Veneto, Turin, Milan) he joined the Orchestra of “Teatro alla Scala” where he played under legendary conductors such as Leonard Bernstein, Carlos Kleiber, George Pretre. However his main interests have always been chamber music and baroque music and for this reason he left La Scala to devote himself exclusively to playing and teaching in these areas.

He has worked with notable musicians such as Maurice Steger making with him very succesful recordings) and Anner Bylsma, who described him as a Master of embellishment. Member Founder of Accademia Bizantina, he has also played as soloist and first cello in others well known chamber music groups such as Quartetto Sandro Materassi, Il Complesso Barocco of Alan Curtis, I Barocchisti di Lugano of Diego Fasolis. He has appeared in some of the most important Concert Halls of the world, always to great acclaim.

Both as soloist and as chamber musician, he has made many records with well known companies such as Decca, Denon, Harmonia Mundi, Arts, and these have always been favourably rewiewed; the records include Concerti by Vivaldi and Leo, Sonatas by Scarlatti and Trio Sonata by Bach, Corelli, Galuppi, Platti. His next CD – teh first world recording of the Six Canzoni by Angelo Berardi – will be published by Sony. He also plans to record Bach Sonatas and Vivaldi Concertos with Diego Fasolis, with whom he regularly collaborates.

His concerts have been transmitted by some of the main Radio and Television station of Europe. For about thirty years he has dedicated himself to playing baroque music on original instruments and to the rediscovery of historical instruments such as the five-stringed violoncello piccolo, the Arpeggione and the Baryton. He plays a cello made by Andrea Castagneri in 1740 and also uses a violoncello piccolo and a copy of a Montagnana made by the violin makers Lucia Valli and Matias Herrera. With their help he has produced a copy of an Arpeggione conserved by the Museum of Musica Instruments of Berlin.

He has been a lecturer in chamber music at the Conservatorio of Bologna, and he has taught for ten years at the Conservatorio della Svizzera Italiana of Lugano.

This album contains no booklet.

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