The Sequentia or ‘sequence’ lies at the heart of this recording. Listen carefully to the caprices of these two composers, and you will often hear that the building blocks of the music consist of sequences in couplets: themes or material introduced and then repeated, and into which the performer can throw subtle variations if the sequence invites such exploration. There are other associations that can be drawn from this title. Fairly or not, sets of caprices such as these are rarely performed in their entirety during concerts, so their use as a ‘sequel’ to other music is an important consideration. These solo cello works also form a sequel to Joachim Eijlander’s previous recordings of J.S. Bach’s Cello Suites on Navis Classics NC15003 and NC15007, both in the chronology of their production and that of their composers.
Total time: 01:17:36
Horus by Merging Technologies
Daan van Aalst
The microphone setup is simple and logic. A pair of omni's as main pair, supported by a small pair
of semi cardioïds to blend in more detail. For a nice decay I used a wide pair of omni's in the hall.
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Daan van Aalst
De Doelen, Rotterdam
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|Release Date||October 5, 2017|
As a sequel to his recordings of the Bach Solo Cello Suites, which I reviewed last year, Joachim Eijlander turns his attention to two relatively unknown composers who have likewise made contributions to the solo cello repertoire. I have to admit that both are new names to me.
Eijlander addresses the technical challenges of these works with unruffled ease and consummate musicianship. He’s playing an anonymous Italian cello from around 1730. It has a rich, burnished tone, which is well-projected and superbly recorded. The warm, intimate acoustic of the Jurriaansezaal provides just the right amount of resonance, allowing nuance and detail to be heard.
Het spel van Eijlander in deze caprices is ronduit exemplarisch en daardoor is deze cd in feite een waardige opvolger geworden van die met de Bach-suites.
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