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Matt Haimovitz

The Bach Cello Suites According to Anna Magdalena

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1 Suite I in G Major, BWV 1007 - Prelude  
2 Suite I in G Major, BWV 1007 - Allemande  
3 Suite I in G Major, BWV 1007 - Courante  
4 Suite I in G Major, BWV 1007 - Sarabande  
5 Suite I in G Major, BWV 1007 - Menuet I & II  
6 Suite I in G Major, BWV 1007 - Gigue  
7 Suite II in D Minor, BWV 1008 - Prelude  
8 Suite II in D Minor, BWV 1008 - Allemande  
9 Suite II in D Minor, BWV 1008 - Courante  
10 Suite II in D Minor, BWV 1008 - Sarabande  
11 Suite II in D Minor, BWV 1008 - Menuet I & II  
12 Suite II in D Minor, BWV 1008 - Gigue  
13 Suite III in C Major, BWV 1009 - Prelude  
14 Suite III in C Major, BWV 1009 - Allemande  
15 Suite III in C Major, BWV 1009 - Courante  
16 Suite III in C Major, BWV 1009 - Sarabande  
17 Suite III in C Major, BWV 1009 - Bourree I & II  
18 Suite III in C Major, BWV 1009 - Gigue  
19 Suite IV in E-flat Major, BWV 1010 - Prelude  
20 Suite IV in E-flat Major, BWV 1010 - Allemande  
21 Suite IV in E-flat Major, BWV 1010 - Courante  
22 Suite IV in E-flat Major, BWV 1010 - Sarabande  
23 Suite IV in E-flat Major, BWV 1010 - Bourree I & II  
24 Suite IV in E-flat Major, BWV 1010 - Gigue  
25 Suite V in C Minor, BWV 1011 - Prelude  
26 Suite V in C Minor, BWV 1011 - Allemande  
27 Suite V in C Minor, BWV 1011 - Courante  
28 Suite V in C Minor, BWV 1011 - Sarabande  
29 Suite V in C Minor, BWV 1011 - Gavotte I & II  
30 Suite V in C Minor, BWV 1011 - Gigue  
31 Suite VI in D Major, BWV 1012 - Prelude  
32 Suite VI in D Major, BWV 1012 - Allemande  
33 Suite VI in D Major, BWV 1012 - Courante  
34 Suite VI in D Major, BWV 1012 - Sarabande  
35 Suite VI in D Major, BWV 1012 - Gavotte I & II  
36 Suite VI in D Major, BWV 1012 - Gigue  
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Fifteen years after his pivotal first recording of the Cello Suites by J.S. Bach, which launched the newborn Oxingale Records, Matt Haimovitz returns with a profoundly transformed interpretation inspired and informed by an authoritative manuscript copy by Anna Magdalena, Bach's second wife. In this second foray into the period-instrument sphere – following his revelatory recording of the complete Beethoven Sonatas and Variations with Christopher O'Riley – Haimovitz performs the Suites on baroque cello as well as cello piccolo, the five-string instrument for which Suite VI was likely intended. While on the surface, Anna Magdalena's version provides seemingly little guidance, the manuscript ultimately reveals interpretive insights and an idiomatic grammar to articulation and phrasing. The manuscript becomes a holy testament for Haimovitz in his new document of the Cello Suites. 

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