Johann Sebastian Bach - Suites pour violoncelle seul BWV 1007, 1008, 1009, 1010, 1011 & 1012
Johann Sebastian Bach
Complete Suites for Solo Violoncello
BWV 1007, 1008, 1009, 1010, 1011 & 1012
"Choc" du Monde de la Musique n°184
"10" de Répertoire n°58 & n°75
Prix d'interprétation de La Nouvelle Académie du Disque
"In no other art did the Bach miracle occur. To strip human nature down to its divine core; to endow with spiritual fervour that is most universally human; to give divine wings to the flight of the ethereal; to render the human divine, and the divine human; this is Bach : the highest, purest musical pinnacle of all time." Pablo Casals
The art of Johann Sebastian Bach is one of the most impressive phenomena in the history of western music. Although we have long been aware of this, we are reminded of it anew with each thrust of an opus continuously revealing fresh insights through its infinite diversity and profound capacity to instruct.
Bach was a man of his time, the 18th century : firmly rooted in his own era, yet capable of surpassing the previous century’s "baroque" culmination and of consigning it to antiquity. His analytic mind extracted the substance from tradition, subjected it to rational scrutiny, and devised new rules for it. Thus it was that Bach came to pioneer a new style, "classicism", that his sons and pupils were subsequently to spread throughout Europe. Bach did not reject the forms established by his predecessors, however; rather, he breathed new life into them and preserved them from oblivion. Bach was a master craftsman coveting neither present glory nor everlasting fame who, in his Italian Concerto, Well-Tempered Clavichord, Violin Sonatas and Partitas and Violoncello Suites, cast a clear eye into the future.
A New Instrumental Art
The second half of the 16th century gave birth to an autonomous instrumental art based on transcriptions of songs. When instruments began to be used for playing Gabrieli’s Canzonas and Frescobaldi’s Toccatas, they quickly moved to centre stage. The following century was a time of experimentation. The limitations of existing instruments such as lutes, viols and flutes were stretched to their utmost just as newcomers - violins and keyboards - were gaining ground.
The 18th century was not only the Age of Reason, but also the Age of Universality. The barriers segregating the French from the Italian styles crumbled, a development to which Bach’s contribution was crucial. Bach strove constantly to free individual instruments from restrictive formal models, divorcing the suite from the lute and the viol, and composing polyphonically for traditionally monophonic instruments such as the violin, the violoncello, and the flute.
It is impossible to ascribe an exact date to the invention of the violin, but we do know that over an initial span of some fifty years the new instrument gained overwhelming popularity, first through opera and dance, and then through a rich repertoire composed specifically of it and placing it at the nerve-centre of contemporary musical development. Although the violoncello was invented at approximately the same time, it was not so readily accepted. The violoncello was included in early 18th century orchestras, but the viola da gamba was still preferred for continuo parts. On the other hand, the violoncello was not really favoured as a solo instrument, either. This is explained in part by the fact that for many years violoncellists performed standing, with their instruments resting on a stool - as illustrated in the famous engraving of Corelli conducting one of his concerts in Rome’s Piazza di Spagna. This position made it almost impossible to move the left hand along the unsupported neck of the instrument. Further, although the violoncello’s tone was more powerful than of the viol, it was difficult to control and relatively incompatible with "sweet-sounding" instruments such as the flute, or with the human voice.
In a 1740 pamphlet entitled "In defence of the bass viol against the inroads of the violin and the pretensions of the violoncello," Frenchman Hubert Le Blanc wrote : "its dissonance must be fought with vigor; it demands a subservient art; he who would master the wild vibrations of it's string, which are like ship’s cable, must wear boots on his fingers". During the same period, however, two works - the first violoncello-method books - gave amateurs some invaluable pointers. These were Lanzetti’s 1736 "Principles of Violoncello Fingering in All Keys" and Corrette’s 1741 "Theoretical and Practical Method For Rapid and Perfect Mastery of the Cello". Michel Corrette was the first to advise playing the instrument in a sitting position, which (in his words) "gives greater ease for the execution of difficult passages". And yet Bach’s Suites were composed long before in about 1720...
Bach’s Violoncello Suites
Are we to surmise from the foregoing that when Bach composed his set of Suites for the violoncello, the instrument was virtually non-existent? Not quite. A few well-known musicians were already playing and composing for it : Ariosti, who performed about 1698 in Berlin; and Jacchini and Domenico Gabrielli. However, it is unlikely that Bach knew any of them. The only violoncello players with whom he was in regular contact were Linigke and Abel, both actually celebrated viol specialists who occasionally performed on the violoncello.
Bach’s violin Sonatas and Partitas were also composed at this time, and here we do find existing models : Vivaldi’s Opus 3 and - especially - Heinrich Biber’s Sonatas. But there are no such models for the violoncello, since even the above-mentioned works by virtuosos Jacchini and Gabrielli were rudimentary. And Vivaldi’s own violoncello works are not relevant here, since they are either atypical - being also suitable for the bassoon - or unpublished.
We may therefore deduce that, during a period when Bach was attempting to demonstrate his skills as a composer in any style and for any instrument, from the traditional lute and viola da gamba to the newly invented violin and violoncello, he simply extrapolated from violin to violoncello, thus proving that this "bass violin" was as suitable as the bass viol for performing polyphonic pieces.
The only primary sources available today are a manuscript copied by Anna Magdalena Bach and a copy belonging to Johann Peter Kellner, an organist friend of Bach’s. Although the Six Suites form a structurally consistent whole (Prélude; Allemande; Courante; Sarabande; Menuets, Bourrées or Gavottes; Gigue), we will see later (vol. 2) that they fall naturally into two groups - four in one, two in the other : four Suites for violoncello; and two for somewhat different instruments.
Internally, each suite contains three separate pieces (Prélude, Sarabande, and Gigue with the Sarabande constituting the suite’s central pivot); and two "paired" pieces Allemande, Courante and Menuets (or Bourrées or Gavottes) l and ll.
Suite I in G Major BWV 1007
The two-part Prélude with its central climax is relatively brief. The first part is constructed around an arpeggio motif based on a two-voice pedal figure, and the second part embellishes a contrasting theme, broken by a long harmonic sequence leading into the conclusion and built on a variation of the initial arpeggio.
The Allemande is in two symmetrical parts, variations on a motif from the prelude. The chords indicate to the alert listener a polyphonic progression that is more hinted-at than real.
The Courante is also in two symmetrical parts, here contrasting two rhythmic figures, one in eight-notes, the other in sixteenths. The two figures are later treated to a number of variations which lend this Courante its characteristic exuberance.
The Sarabande is one of the shortest in all the suites : two parts containing eight measures. Here again, the chords are more a suggestion to the listener of how the polyphony might progress than an indication of the dance beat.
The next two dance movements are the only ones that vary depending on the pair of suites in which they appear : Menuets in N° 1 and 2; Bourrées in N° 3 and 4; Gavottes in N° 5 and 6. This is also the sole concession to French taste, since, with rare exceptions, most of the Suites are in the Italian style.
The two Menuets, which are played in alternation, with a da capo recapitulation of the first, stand in relative contrast to the other dance movements due to a simplicity that is almost rustic. The second Menuet, although written in 3/4 time, is constructed in half-measures, thus somewhat attenuating the inherent Menuet rhythm.
The concluding Gigue is unquestionably the lightest and most animated of all, barely overshadowed by two minor-key passages : D-minor in the first part; G-minor in the second.
Suite II in D Minor BWV 1008
Here the Prélude in more freely-constructed than in the first Suite, featuring a large variety of motifs with each sequence introduced by a figure made up of two dotted eight notes whose effect is to displace the strong beat to the middle of the measure. The melodic progression, organized around two "pivot" notes, remains in virtual suspension on a dominant chord, then moves with great freedom, and is suddenly interrupted by five powerful chords bringing the Prélude to a close.
The rather stately Allemande is in two symmetrical parts punctuated by chords recalling the underlying polyphony. It is much more intricately embellished than the Allemande in the first Suite.
The same symmetry also governs the Courante, built on a series of motifs with variations.
The Sarabande returns to the stately mood of the prelude. The polyphony is rich, the many chords suggest a three-part composition.
As in the first Suite, the Menuets release the tension prior to the gigue. The first is more rustic in mood than the second, which is comparatively light and dreamy.
The powerful Gigue, with its bourdon effects, concludes this second Suite on an unexpected note.
Suite III in C Major BWV 1009
The key of C-major is definitely the best one for exploiting the violoncello’s potential to its fullest. In the group making up the first four Suites, the third is the one in which Bach uses the broadest "ambitus" and the greatest number of four-note chords.
The Prélude, which is not dissimilar to that of the E-major violin partita or of some organ preludes, opens on a succession of scales seemingly intended to explore the entire tessitura of the instrument, and is quickly brought to an end by two motifs that intertwine until they reach a lengthy sixteen-measure G pedal - the climax of the piece. Then the preceding motifs make mirror-like reappearance, interrupted by the scales leading to a conclusion composed of rather unusual chords for this type of piece.
The Allemande, once again in two symmetrical parts, contrasts three rhythmic figures in which Bach takes the melodic line from one tessitura into the other, like a game of question-and-answer.
The Courante is very Italian, and plays on a succession of eight notes, alternating an arpeggio motif with a more melodic figure.
The Sarabande is built around three eight-measure sections, with the second section containing two 16-measure sub-sections. The noble and serene second section includes an unexpected modulation into D-minor.
The two Bourrées in - C-major and C-minor, respectively - are built on the same theme : the only time this occurs in these Six Suites.
This Suite’s final Gigue is one of the most brilliant of all, alternating highly varied motifs, and making use of "musette" type structures.
The Violoncello in Bach's Time
In Corelli's time the violin was already well established, in virtually its modern form. Its size has not been changed since, and the minor details that have been changed do not constitute major alterations to the instrument as a whole. Can the same be said for the violoncello? What instruments was Johann Sebastian Bach familiar with? The hypothesis according to which his Suites might have been composed for the celebrated viol-player Abel, who played at the chapel of the Prince of Saxe-Weimar, oblige us to examine this aspect of the problem carefully.
At the time the Six Suites were presumably composed - between 1720 and 1723 - there existed a number of instruments of various sizes and with various names that could all be considered "violoncellos". The most widespread, even in Italy, was the bass or "procession" violin. This instrument measured 85 centimetres*, or 10 centimetres more than the modern violoncello; was played in a standing position; and tuned differently from modern instruments. The "bass violin" continued in use until the end of the 18th century, when most extant models were re-cut and converted into violoncellos.
There was also a smaller, less popular bass violin, and the relatively rare, 75 centimetres* long "Italian violoncello" which became the violoncello as we know it today. The crucial evidence comes from Bernard Romberg (1767-1841). In his treatise on the violoncello (1840), he writes : "The instrument I play comes from Antonio Stradivarius; it is a small model made in 1711. By 'small model' I do not mean it is abnormally small, but that Stradivarius also built instruments too large for the modern style of playing". From this it would appear that even among the instruments produced by Stradivarius, violoncellos figured less importantly than bass violins.
Excluding the large double-bass viols, which were rare and little-used, there are two other instruments with which Bach may have been familiar : the viola pomposa and the piccolo violoncello, both of which resembled viols as much as they did violins.
Johann Nikolaus Forkel posits that the viola pomposa was invented by Bach and built by the instrument-maker Hoffmann. Very few examples were made. This instrument measured 50 centimetres* and was played on the arm, compared to the five-stringed 60 centimetres* piccolo violoncello, which Bach used in several Cantatas composed during his early years at Leipzig. Possibly there was some confusion in Forkel's mind between the viola pomposa and the violoncello piccolo.
* All measurements refer to the case alone, not the total length of the instrument.
It is unclear why Bach, if he had been familiar with the "violoncello" - the most balanced instrument in this family of strings - would have turned to the "piccolo violoncello" for his sixth Suite. The latter instrument is indeed rich in the treble register, but relatively poor in the bass; when he used it for Cantatas, Bach confined it to the solo parts, entrusting the continuo to a second bass violin. Our final point is that, as the sixth Suite was written for a five-stringed instrument - viola pomposa or piccolo violoncello - it must have been composed in 1724 at the earliest, and not in 1720. This point weakens the hypothesis that a homogeneous group of six Suites was composed for the celebrated viol-player Abel, who very possibly possessed only a bass violin...
Johann Sebastian Bach preferred the suite to the sonata for both the violoncello and the harpsichord. A legacy of the 17th-century lute-players who perfected the form, the Suite consists of four "compulsory" dances : Allemande, Courante, Sarabande and Gigue. The Prelude, particularly characteristic of the lute tradition, is treated in various ways by Bach : free prelude, French overture, invention, etc... In the Suites for Solo Violoncello, Bach introduces dances in the French style (Menuets, Bourrées, Gavottes) between the Sarabande and the Gigue, in an apparent effort to demonstrate that the violoncello is equal in expressivity to the viola da gamba, which enjoyed great popularity in France at the time.
Suite IV in E flat Major BWV 1010
As noted above, these Suites can be divided into groups of two, linked by the common feature of a dance in the French style. The fourth Suite - like the third - thus features two Bourrées. The Prelude is inscribed "Praeludium" and, although this is the only time such a notation appears, it should not be understood as indicating any specifically exceptional intentions. The key signature (E flat Major) is the more exceptional characteristic, since this is a perilous key for stringed instruments, one in which few open strings are possible.
This Prelude is comparable in length to that of the third Suite. The initial arpeggio theme is repeated in its entirety, endowing it with grave nobility. The climax comes in the middle, on a bass C sharp, with only two cadences interrupting the regularity of the arpeggio theme.
The Allemande is sprightly, alternating a theme made up of four sixteenth-notes with a group of isolated eighth-notes. The second, more-extensively developed section, elaborates on the four sixteenth-note theme.
As in the other Suites, the Courante is closely linked to the Allemande, in a vivacious mood alternating binary and ternary rhythms. Here again, the second section is more developed, expanding on themes introduced in the first section.
The Sarabande is the most polyphonic piece in the fourth Suite. Two, and sometimes three, voices can be heard or sensed. The piece is built on a two-measure theme, with the accent falling at the beginning of the second measure - a procedure which shifts the structural balance usual in this dance form. The many chords are more in the viola da gamba than in the violoncello style, one means by which Bach demonstrates that the "bass violin" can be just as expressive as the viola da gamba - still highly popular in France and Germany.
The two Bourrées are unusual in that both are in the major key, although common stylistic practice for this form would place the second in the minor. Bach preferred retaining E flat Major for both, since the key of E flat Minor is difficult to execute on stringed instruments, and the second Bourrée thus makes its appearance as a central section with a less marked dance mood.
Like a "mobile perpetuum", the Gigue spins out variations on a single theme consisting of three eighth-notes. The first two measures introduce the theme, which is then swiftly reduced to a figure varied solely by shifting the strong beats. The swirling conclusion comes as something of a surprise after the relatively solemn mood of the suite as a whole.
Suite V in C Minor BWV 1011
The fifth and sixth Suites form a separate group within this magnificent whole, since the fifth Suite is composed for an instrument tuned differently and the sixth Suite is for a five-stringed instrument.
We have advanced several hypotheses for the dates of composition. Some features of these two Suites support the theory that they date from the Leipzig, rather than the Cöthen period, and that the six Suites grouping was made by Anna Magdalena for the copyist. Note that no manuscript score by Bach for these Suites has survived.
A manuscript does exist for a lute version of the fifth Suite, however, and this was probably written in 1727. Johann Nikolaus Forkel, Bach's first biographer, and Wolfgang Schmiedler, who compiled the BWV catalogue, both believed the lute version came after the violoncello version, although there is no decisive evidence to support this thesis. The opposite is just as conceivable...
The fifth Suite requires different tuning - C, G, D, G instead of C, G, D, A. Although the violin literature shows this practice to have been common at the time, Bach may nevertheless have adopted it in order to preserve some of the chords from the Suite for Lute. If so, then the latter must have been composed prior to the violoncello version.
The Prelude to this Suite is the most extensively developed of all, and is actually a prelude and fugue, as in the Sonatas for solo violin. In this instance the Prelude serves primarily as an introduction. It is a freely-constructed fantasia reminiscent of some of the preludes, for example, in the Well-Tempered Clavichord (BWV 852). This is a two-voice fugue in which, despite the limitations of the instrument, the polyphony is quite developed. Here again, even when one or the other of the voices is only sensed rather than heard, Bach drives his statement to its conclusion while exploiting all the resources inherent in the contrapuntal form.
The Allemande, like the Courante, is punctuated with chords that break up the continuity of the melody and emphasize the rhythmic structure of each dance.
The Sarabande, in contrast, is remarkable for its apparent simplicity. This is the only Sarabande in the Suites with no double stopping and no chords, yet the polyphony remains highly perceptible.
The two following dances are Gavottes. Once again the traditional alternation between major and minor modes is not respected, and the second Gavotte serves as a relatively developed intermezzo.
The powerfully rhythmic concluding Gigue is more reminiscent of warbling canary than of a gigue.
Suite VI in D Major BWV 1012
As noted in the hand of Anna Magdalena on the top of the manuscript score, this Suite is composed for a five-stringed instrument. We have explained the reasons that incline us to identify the instrument in question as a piccolo violoncello - which would date the Suite's composition sometime during the early Leipzig years.
The Prelude's "ambitus" is extensive, possibly because of the instrument chosen. This is also the only Suite with indications for the dynamics (forte, piano). It is built on a figure consisting of three eighth-notes embellishing an arpeggio, with the beginning of each section alternating the same note played on two strings. The three eighth-note motif continues imperturbably while being varied in a host of ways, and is finally interrupted only by a sixteenth-note phrase announcing the conclusion.
The fairly slow Allemande unfolds long, melodic thirty-second note passages in sharp contrast to the Courante that follows, which is quick and vivacious - an apparent attempt to explore all the registers of the violoncello.
The highly polyphonic Sarabande is written entirely in chords. Of all the Sarabandes in the six Suites, this is the one that best preserves the original sensual quality of a dance form banned by the Spanish clergy in the 16th century.
The two Gavottes, both in the major, also return fully to the original dance. The second is a Gavotte in rondo form, its mood French, its style reminiscent of Jean-Philippe Rameau.
The Gigue concluding the sixth Suite is fairly rustic, with a proliferation of bourdon effects. From the lively initial theme spring increasingly complex figures accentuated by very marked polyphonic effects.
The sixth Suite - perhaps because it was written for the piccolo violoncello? - is the one that reaches farthest back into the past. Bach appears to be using it to bring his exploration of the violoncello's aesthetic possibilities to an end. Although not entirely forgotten during the 19th century, these six Suites disappeared from the violoncello repertory. Justus-Johann Dotzauer published the first edition under the title "Exercises". Pablo Casals rediscovered them in about 1890 and subsequently included them in his repertoire, introducing them to music lovers and performers alike.
In the early 20th century, Johann Sebastian Bach's Six Suites for solo violoncello became a model of their kind, serving as the inspiration for a host of works in the same vein, as witness the Sonatas and Suites by Zoltan Kodály, Max Reger and Paul Hindemith.
Text after Georges Boyer original
Alain Meunier was born in 1942 and received his training at the French National Conservatory of Music in Paris, where he won four first Prizes : Violoncello, Instrumental Ensemble, Professional Chamber Music, and Theory of Music.
An accomplished soloist specializing in the classical and romantic repertoire, with an emphasis on chamber music, Alain Meunier is also a fervent supporter of new music. Numerous contemporary composers have written for him, including Georges Aperghis, Alain Bancquart, Franco Donatoni, Pascal Dusapin, Marc Monnet, and Maurice Ohana.
Teacher, during 28 years, first at the "Conservatoire National Supérieur de Musique et de Danse" in Lyon, then in Paris, he has also taught for more than 35 years at "Accademia Musicale" in Siena (Italy). He shares the direction of "Quatuors à Bordeaux" which associate the International String Quartet competition and the Chamber Music Festival. He heads the "Festival d’Entrecasteaux" (Var, France) and the "Serate Internazionali di Musica da Camera di Napoli" (Italy). He is frequently invited to perform in music festivals world-wide.
Suite l BWV 1007
Menuet l et Menuet ll
Suite ll BWV 1008
Menuet l et Menuet ll
Suite lll BWV 1009
Bourrée l et Bourrée ll
Suite lV BWV 1010
Bourrée l et Bourrée ll
Suite V BWV 1011
Gavotte l et Gavotte ll
Suite Vl BWV 1012
Gavotte l et Gavotte ll
Review"Choc" du Monde de la Musique n°184 :
Dans les suites pour violoncelle seul de Bach, l'architecture "abstraite" des préludes et des allemandes, l'édifice contrapuntique des sarabandes ou les mouvements plus décoratifs des courantes, menuets, bourrées, gavottes et gigues sont construits dans un style très libre mais doivent toujours suggérer une science polyphonique complexe (même si une ou plusieurs voix restent souvent sous-entendues). S'il n'existait déjà une incomparable brochette discographique, où dominent Fournier (DG), Starker I (EMI), Casals (EMI), Tortelier I et II (idem), Starker II (Mercury), Gendron (Philips) et, pour les baroqueux, Bylsma (Sony), on pourrait dire qu'Alain Meunier redécouvre, en une vision aussi personnelle que sobre, les Quatrième, Cinquième et Sixième Suites. Comme dans son précédent enregistrement des trois premières suites, Meunier assume une partie de l'héritage "romantisé" de Casals et Tortelier, mais ses coups d'archet, accents et respirations révèlent un phrasé épuré où le trop-plein d'émotion est constamment dominé, sans que jamais l'expression soit sacrifiée au style (on pense aux versions si divergentes et, paradoxalement, si proches spirituellement de Pierre Fournier et de Janos Starker). Meunier retrouve avec une grande sobriété la richesse d'articulation et la vibrante gravité qu'appellent les préludes, allemandes et sarabandes des Quatrième et Cinquième Suites. Sa déclamation dans la périlleuse Sixième Suite équilibre admirablement la continuité mélodique et le rebondissement rythmique.
Par-delà d'évidentes qualités factuelles (intonation, beauté du son, générosité très "libre" de certaines inflexions), Meunier nuance la rudesse de certains mouvements (Quatrième Suite) par une cambrure plus féline; mais il sait avant tout exalter les visées les plus ambitieuses du recueil tels le prélude de la Cinquième Suite ou l'extraordinaire sarabande de la même suite, avec ses immenses résonances et sa polyphonie sous-jacente. L'expressivité n'est point ici exacerbée, elle est intégrée dans une architecture donnant à chaque phrase un sens "vérifiable" dans la suivante. - Patrick Szersnovicz
Technique : 9,5/10. Superbe prise de son, pure et naturelle.
"10" de Répertoire n° 58 & 75 :
... Alain Meunier procure un bain de jouvence. Toute démonstration de virtuosité n'étant plus nécessaire en ce qui le concerne, et n'étant pas son propos, le spirituel repasse enfin au premier plan, qui doit être le sien. Après une avalanche de versions de ces œuvres dont la moitié (soyons généreux) relève de l'inutile et du parcours obligé, voici un enregistrement nécessaire et impérieux, d'une intensité et d'une sincérité qui ne cède en rien aux illustres précédents, y compris Fournier. Profond et incandescent (Sarabandes), souple et fluide, l'archet conduit de bout en bout une vision pleine de conviction et de pudeur, de spiritualité et d'humanisme, qui fera date. - Sophie Roughol
Technique : 9/10. pur et net, dynamique et équilibre exceptionnels.
On pourra toujours dire - et on dira sans doute - que Navarra déployait plus de fougue, que Fournier faisait preuve de plus de mysticisme, Tortelier plus... On pourra en quelque sorte se livrer au jeu subtil mais un peu vain des comparaisons, le catalogue en expansion constante le permet. Mais Alain Meunier ne cherche justement pas à prouver quoi que ce soit vis-à-vis des ancêtres. Jamais dans ces Suites (Fournier peut -être) l'interprète n'aura semblé aussi humble devant l'œuvre. Est-ce sa longue pratique de la musique de chambre? Le syndrome soliste ne lui sied guère. Humilité n'est pas absence : simplement Meunier ne se raconte pas, ne démontre rien. Il s'immerge et devient lui-même le pont entre l'humanité charnelle de l' œuvre et ses éclats spirituels.
L'unité de ces trois dernières Suites s'impose d'emblée : l'écueil de la Sixième, si atypique par l'usage des aigus de l'instrument, disparait dans une unité de timbre étonnante de tout le registre. Mais surtout les tempos, toujours allants, laissent la polyphonie discursive prendre toute son amplitude, sans jamais perdre la motricité et la progression dynamique : un art du discours et du phrasé marqué par une liberté totale. Les danses sont de vraies danses ("Bourrée" terrienne de la Suite n°4), l'appogiature de "l'Allemande" de la même Suite, bien affirmée, lance une danse qui devient ensuite presque mutine, les "Courantes" sont fluides mais solidement architecturées. Dans la Suite n°5, la "Sarabande" joue subtilement sur les résonances pour l'illusion polyphonique, le "Prélude" ouvre des abîmes vertigineux. Mais le sommet est atteint avec le "Prélude" de la Suite n°6, allant et libre, généreux, sans effet appuyé.
Plus qu'une analyse de chaque pièce, c'est le sentiment de sérénité et de plénitude, la projection et la générosité du son, la grande exactitude d'intonation que l'on retiendra. Des Suites plus ancrées dans l'humanisme que dans le mysticisme, à l'image de ces graves féconds, préférant à l'austérité spirituelle une liberté rayonnante et charnelle, diablement - pardon, divinement - séductrice. - Sophie Roughol
Technique : 9/10. Comme pour le premier volume, excellente prise de son, pas trop rapprochée, d'une grande pureté.
Prix d'interprétation de La Nouvelle Académie du Disque
Grand soliloque pour âme en peine, ces suites ont résonné de toutes les façons et pour tous les goûts. L'intelligence avec laquelle Alain Meunier a su architecturer son interprétation, la réserve si émouvante de son chant profond, et soudain sa fantaisie, son allégresse, parfois teintée d'une certaine tristesse, tout séduit et convainc. Sans gratuité, ni jobarderie, sans pathos ni larmoiement, Alain Meunier tire de son instrument une palette de sentiments d'une subtile grandeur et d'une rare élégance. Mais il y a aussi une part de mystère dans ce jeu qui opte délibérément pour une certaine distanciation et atteint ainsi une sérénité sans prix. - La sélection d'Antoine Livio. Les "indispensables", Altamusica.com