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Side 1
Cello Suite No. 1 G major, BWV1007
1. I. Prélude 2.37
2. II. Allemande 5.14
3. III Courante 2.26
4. IV. Sarabande 3.47
5. V.Menuett1, 2 3.01
6. VI. Gigue 1.45
Side 2
Cello Suite No.2 D minor, BWV1008
1. I. Prélude 4.20
2. II. Allemande 4.26
3. III. Courante 2.11
4. IV. Sarabande 6.35
Side 3
1. V. Menuett1, 2 3.20
2. VI. Gigue 2.48
Cello Suite No.3 C major, BWV1009
3. I. Prélude 4.06
4. II. Allemande 3.30
5. III. Courante 3.02
Side 4
1. IV. Sarabande 5.09
2. V. Bourrée1, 2 3.36
3. VI. Gigue 2.46
Cello Suite No.4 E-flat major, BWV1010
4. I. Prélude 4.47
5. II. Allemande 4.01
Side 5
1. III. Courante 4.38
2. IV. Sarabande 5.23
3. V. Bourrée1, 2 5.43
4. VI. Gigue 2.34
Side 6
Cello Suite No.5 C minor, BWV1011
1. I. Prélude 8.02
2.II. Allemande 7.15
3. III. Courante 2.15
4. IV. Sarabande 3.48
SIde 7
1. V. Gavotte 1, 2 5.04
2. VI. Gigue 3.13
Cello Suite No.6 D major, BWV1012
3. I. Prélude 4.55
4. II. Allemande 5.46
Side 8
1. III.Courante 3.28
2. IV. Sarabande 3.40
3. V. Gavotte 1, 2 4.01
4. VI. Gigue 4.0
Recorded in 1970 (Suite No.1) 1973 (Suite No.2, 5) 1969 (Suite No.3) 1974 (Suite No.4, 6)
Sound engineers– David Gaklin(Suite No.1, 3),
Yuri Kokzhayan(Suite No. 2, 4, 5, 6) Remastering–Maxim Pilipov
Analogue mastering from original masters of Firma Melodiya
Audiophile mastering by Maxim Pilipov
Audiophile virgin vinyl pressing at Pallas Group GmbH in Germany
Shafran’s interpretation of Bach’s cello suites is marked by his original approach to the music of the great composer, his bold and novel rendition. The musician is a stranger to retrospection, false adherence to tradition and museum-like restoration of Bach’s music as well as to its unwarrant-ed modernization. Skillfully making use of the rich expressive potentialities of the cello, of subtle shades of bow “touche” and vibrato technique and dynamizing the dance element of the pieces, he utilized diverse strokes and accentuation, ranging from well nigh indistinguishable emphasis to sharp and forceful bowing. Shafran seems to translate the logical language of Bach’s music into the language of our time. In the cellist’s rendi-tion we hear not the Bach of the clavichord and thorough-bass period but Bach as read by a contemporary musician. And listening to Shafran’s playing we perceive these works as music full of life and fervency.
I. Yampolsky
Cello Suite No. 1 G major, BWV1007
1. I. Prélude 2.37
2. II. Allemande 5.14
3. III Courante 2.26
4. IV. Sarabande 3.47
5. V.Menuett1, 2 3.01
6. VI. Gigue 1.45
Side 2
Cello Suite No.2 D minor, BWV1008
1. I. Prélude 4.20
2. II. Allemande 4.26
3. III. Courante 2.11
4. IV. Sarabande 6.35
Side 3
1. V. Menuett1, 2 3.20
2. VI. Gigue 2.48
Cello Suite No.3 C major, BWV1009
3. I. Prélude 4.06
4. II. Allemande 3.30
5. III. Courante 3.02
Side 4
1. IV. Sarabande 5.09
2. V. Bourrée1, 2 3.36
3. VI. Gigue 2.46
Cello Suite No.4 E-flat major, BWV1010
4. I. Prélude 4.47
5. II. Allemande 4.01
Side 5
1. III. Courante 4.38
2. IV. Sarabande 5.23
3. V. Bourrée1, 2 5.43
4. VI. Gigue 2.34
Side 6
Cello Suite No.5 C minor, BWV1011
1. I. Prélude 8.02
2.II. Allemande 7.15
3. III. Courante 2.15
4. IV. Sarabande 3.48
SIde 7
1. V. Gavotte 1, 2 5.04
2. VI. Gigue 3.13
Cello Suite No.6 D major, BWV1012
3. I. Prélude 4.55
4. II. Allemande 5.46
Side 8
1. III.Courante 3.28
2. IV. Sarabande 3.40
3. V. Gavotte 1, 2 4.01
4. VI. Gigue 4.0
Recorded in 1970 (Suite No.1) 1973 (Suite No.2, 5) 1969 (Suite No.3) 1974 (Suite No.4, 6)
Sound engineers– David Gaklin(Suite No.1, 3),
Yuri Kokzhayan(Suite No. 2, 4, 5, 6) Remastering–Maxim Pilipov
Analogue mastering from original masters of Firma Melodiya
Audiophile mastering by Maxim Pilipov
Audiophile virgin vinyl pressing at Pallas Group GmbH in Germany
Shafran’s interpretation of Bach’s cello suites is marked by his original approach to the music of the great composer, his bold and novel rendition. The musician is a stranger to retrospection, false adherence to tradition and museum-like restoration of Bach’s music as well as to its unwarrant-ed modernization. Skillfully making use of the rich expressive potentialities of the cello, of subtle shades of bow “touche” and vibrato technique and dynamizing the dance element of the pieces, he utilized diverse strokes and accentuation, ranging from well nigh indistinguishable emphasis to sharp and forceful bowing. Shafran seems to translate the logical language of Bach’s music into the language of our time. In the cellist’s rendi-tion we hear not the Bach of the clavichord and thorough-bass period but Bach as read by a contemporary musician. And listening to Shafran’s playing we perceive these works as music full of life and fervency.
I. Yampolsky