7楽章～J.S.バッハとサント=コロンブ親子

ヨハンナ・ローゼによるJ.S.バッハとサント=コロンブ親子!

パオロ・パンドルフォに師事したヨハンナ・ローゼ!
スペインのピリオド・アンサンブル、アカデミア・デル・ピアチェーレのメンバーとしても活躍!

パンドルフォに師事したドイツ出身のヴィオラ・ダ・ガンバ奏者、ヨハンナ・ローゼの最新作は、J.S.バッハとサント=コロンブ父子の音楽を組み合わせて組曲にした、ユニークな1枚!
3つの組曲うち2つはバッハの無伴奏チェロ組曲にサント=コロンブの前奏曲やシャコンヌを加えて7楽章形式にしたもので、残りの1つはサント=コロンブ父子の音楽をローゼ自身が組曲に仕立てたものです。彼女はヨーロッパにおける古楽教育の総本山バーゼル・スコラ・カントルムでパオロ・パンドルフォに師事し、スペインの鬼才ファミ・アルカイが率いるスペインのピリオド・アンサンブル、アカデミア・デル・ピアチェーレのメンバーとしても活躍する今注目のガンバ奏者。これまでにRubiconからリリースしたマラン・マレ(RCD1041)やC.P.E.バッハ(RCD1019)のアルバムは、いずれも批評家から高い評価を受けています。
東京エムプラス

In general, Bach might fairly be called a conservative composer, but rarely did he look backward as much as in his solo suites and sonatas for cello or violin. These works hark back to court traditions of inward chamber music that were on the decline by Bachs time. Here, viola da gamba player Johanna Rose draws a link specifically between Bach and the elusive 17th century gambist-composers known as Monsieur de Sainte-Colombe, pere ("father," most of the works) et fils ("son"). She not only assembles a new Sainte-Colombe gamba suite, consisting of pieces by both father and son but also adds Sainte-Colombe pieces onto either end of transcriptions of Bach suites for viola da gamba to form a seven-movement suite (this is the sense of the title, along with the fact that Rose plays the Saint-Colombe seven-string gamba). This idea might be questioned; there is no evidence that Bach knew the music of either Saint-Colombe, and although the French dance movements are common to all the composers, the flavor is different, but one doesnt have to buy Roses concept to enjoy her playing, which is formidable. Bach sounds different on the viola da gamba, more delicate, less percussive, and she catches this difference elegantly. The transcriptions of the Bach suites are her own, and she renders the fantasy-like element in the music of the Sainte-Colombes well; sample the final Chaconne for an idea. A bonus is the Rubicon labels studio sound, an exemplary model for how to record the gamba. Recordings of the music of the Saint-Colombes, despite Jordi Savalls pioneering efforts, remain rare enough that this recording would be recommended in any case, but it has many attractions beyond that. ~ James Manheim