Imamura Yasunori (Theorbo) Bach, Johann Sebastian (1685-1750) - (Theorbo)cello Suites Vol.2 - Import CD

Credits:

Imamura Yasunori](Theorbo) Bach, Johann Sebastian (1685-1750)

Description:

Why choose the theorbo over the lute? It was because I thought it was important to maintain the cello's distinctive elegant and profound sound when playing the cello suite on a repellent string instrument. Since the lute has a higher range than the cello and, as a result, tends to sound lighter, we decided that the theorbo, which has a range similar to that of the cello, would be more suitable in terms of resonance. Bach's Cello Suites are perfect on their own when played on the cello and do not require any supplementary notes, but when played on the theorbo as is (omitted), the bass is missing when the melody is played, and conversely, the melody sounds like it is missing when the bass is played. Therefore, when playing on the theorbo, it is best to make appropriate additions to the bass and melody to maximize the attractiveness of the instrument and express the theorbo's character more vividly. Then, a solid theoretical basis based on knowledge of harmony and counterpoint is necessary to determine how the bass should be added in order to arrange the cello suite for the theorbo. And the bass continuo, which is a unique feature of baroque music and is closely related to both harmony and counterpoint, should not be ignored.In my opinion, the most baroque approach is to complement the cello melody with a bass bass continuo, which is the most faithful to the baroque style. In this recording, I believe I have found my own answer to the theorbo arrangement. I hope that this performance will resonate with you. ...Yasunori Imamura, excerpt from the Japanese commentary Japanese commentary by Yasunori Imamura will be included in the domestic edition. Naxos Japan