Yo-Yo Ma Inspired by Bach (TV) (1997)

1. Suite No. 1 In G Major: Prelude
2. Suite No. 1 In G Major: Allemande
3. Suite No. 1 In G Major: Courante
4. Suite No. 1 In G Major: Sarabande
5. Suite No. 1 In G Major: Menuett 1 - 2
6. Suite No. 1 In G Major: Gigue
7. Suite No. 2 in D minor: Prelude
8. Suite No. 2 in D minor: Allemande
9. Suite No. 2 in D minor: Courante
10. Suite No. 2 in D minor: Sarabande
11. Suite No. 2 in D minor: Menuett I 1 - 2
12. Suite No. 2 in D minor: Gigue
13. Suite No. 3 In C Major: Prelude
14. Suite No. 3 In C Major: Allemande
15. Suite No. 3 In C Major: Courante
16. Suite No. 3 In C Major: Sarabande
17. Suite No. 3 In C Major: Bourree 1 - 2
18. Suite No. 3 In C Major: Gigue
19. Suite No. 4 In E-Flat Major: Prelude
20. Suite No. 4 In E-Flat Major: Allemande
21. Suite No. 4 In E-Flat Major: Courante

1. Suite 4 in E flat Major: Sarabande
2. Suite 4 in E flat Major: Bouree 1- 2
3. Suite 4 in E flat Major: Gigue
4. Suite 5 in C Minor: Prelude
5. Suite 5 in C Minor: Allemande
6. Suite 5 in C Minor: Courante
7. Suite 5 in C Minor: Sarabande
8. Suite 5 in C Minor: Gavotte 1 - 2
9. Suite 5 in C Minor: Gigue
10. Suite 6 in D Major: Prelude
11. Suite 6 in D Major: Allemande
12. Suite 6 in D Major: Courante
13. Suite 6 in D Major: Sarabande
14. Suite 6 in D Major: Gavotte 1 - 2
15. Suite 6 in D Major: Gigue

発売日：1998年2月19日(木)
レーベル：Sony

レビュー (Amazon)
Though they were long misunderstood as mere technical hurdles, Bach's six suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the suites back in the '80s (Suites for Unaccompanied Cello ) but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each suite. While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence. His interpretations are probing, characterized by imaginative bowing and attention to the spacious architecture of Bach's score. This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail. True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music. But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing. There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets. Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements. While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas May