On 17 June, double-bass participant Luis Cabrera releases a traditionally knowledgeable double bass efficiency of JS Bach’s well-known Cello Suite No. 1 in G main utilizing a baroque violone bow.

The efficiency of this six-movement work was recorded and filmed on the Evangelic-Lutheran Church in Haarlem, The Netherlands. The recording shall be launched as an audio album on 17 June 2023 on all of the finest streaming platforms. The video efficiency has been made obtainable this week as six particular person actions on each YouTube and the String Virtuoso platform.

Right here is Luis taking part in the Prelude from the Cello Suite No. 1:

In getting ready for this recording, Luis Cabrera studied the three most essential identified manuscripts of the work – by Anna Magdalena, Johan Kellner and an nameless model. He then created his personal version for double bass, knowledgeable by in depth analysis of those three manuscripts.

This re-creation shall be obtainable to obtain later this 12 months as sheet music from String Virtuoso.

Right here is the Allemande:

Luis Cabrera performs on a Pietro Pallota double bass (c. 1815) utilizing a baroque violone bow, which is way lighter than a typical double bass bow. He additionally performs in a Baroque type, with decreased use of vibrato.

‘I’ve performed quite a lot of baroque music with unique devices, intestine strings and baroque bows, however at all times in an ensemble position, which I like and feels just like the purest means of understanding the muse of the music,’ says Cabrera, who has been principal double bass for the Netherlands Philharmonic Orchestra for the final 17 years.

‘Nevertheless, with a purpose to play the solo works, I made a decision to embark on this journey of exploring manuscripts, analysing harmonies and motifs and discovering a language to convey them out in an genuine means on the double bass.’

Luis Cabrera performs the Menuet from the Cello Suite No. 1:

‘I attempted to play Bach with a contemporary bow and though the notes are the identical, the sound wasn’t proper. For this music you don’t want the robust assault and large sound of recent bows, however readability and articulation in a extra elegant means which I hoped to have achieved with this recording.’

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