Cellist Kivie Cahn-Lipman releases his unique approach to Bach's seminal cello suites, informed by his work as an early music performer and balanced with his sensibility as a performer of modern repertoire.
Suite 1 in G Major, BWV 1007
Suite 2 in D Minor, BWV 1008
Suite 3 in C Major, BWV 1009
Suite 4 in E-flat Major, BWV 1010
Suite 5 in C Minor, BWV 1011
Suite 6 in D Major, BWV 1012
|32||Allemande: (Molto) adagio|
Allemande: (Molto) adagio
Cellist Kivie Cahn-Lipman releases his unique approach to Bach's seminal cello suites, informed by his work as an early music performer and balanced with his sensibility as a performer of modern repertoire. Recorded in the beautiful acoustics of Sweeney Concert Hall at Smith College in Northampton, MA by engineer Ryan Streber, this recording of the suites is both historically informed and beautifully heart felt.
J.S. Bach's holograph has been lost for centuries, and the music to the Cello Suites survives due to several eighteenth-century hand-written copies. Anna Magdalena Bach's copy has been the main source for all modern editions (and therefore all recordings) of the Suites, but it is not the oldest version, and there are subtle differences between it and other sources. This recording synthesizes both Anna Magdalena's and the other extant manuscripts and is also a hybrid of "modern" and "period-instrument" playing, influenced by what the performer considers to be the best of both worlds.
Kivie Cahn-Lipman holds degrees from the Oberlin Conservatory of Music and The Juilliard School, and he is a Doctoral candidate at the University of Cincinnati College-Conservatory of Music. He is the founding cellist of the International Contemporary Ensemble (ICE), and the director of the new period-instrument ensemble ACRONYM. From 2005-2012 he was a Lecturer in Music in a full-time position shared between Mount Holyoke College and Smith College.
Kivie has recorded on the New Focus, Naxos, Bridge, New Amsterdam, Tzadik, Kairos, Mode, ECM, and Nonesuch labels. The present release is his first solo recording. As a chamber musician, Kivie has performed in Carnegie Hall’s Weill Recital Hall and Zankel Hall, Lincoln Center’s Alice Tully Hall and Rose Theatre, and other major venues on three continents, as well as live on WNYC 93.9 in New York and WFMT 98.7 in Chicago. He has been a faculty member at the Cortona Sessions for New Music in Cortona, Italy, since 2012. Kivie plays a 2003 William Whedbee cello, and additionally performs on electric cello, Baroque and piccolo cellos, bass and tenor viols, viola d’amore, and lirone.
Kivie Cahn-Lipman has obviously thought about the issues (surrounding Bach performance) afresh, not least about the thorny problems of obtaining an "urtext" solution in his survey of all six suites. Moreover, he makes some interesting points about the speeds of dances, suggesting that too many interpreters play them too slowly. Performing on a modern cello by William Whedbee with a Baroque bow and steel strings, he offers a hybrid solution in this ambient recording. But it works well, particularly in the Fourth Suite; he takes its Prelude at a tremendous pace, which has the effect of generating greater continuity and flow. In general, Cahn-Lipman brings considerable forward momentum to the allemandes and the sarabandes -- both clearly delineated for the pulse of the dance, as is also the case with the gigues, which are projected with energy and zeal. Even at a fast pace, the drama and theatricality of the Fifth Suite are given full sway, the Sarabande brisker, though still retaining its expressiveness.