Amadeo Baldovino - Violoncello
Johann Sebastian bach - Suite VI D-Dur BWV 1012
recorded from an VERY OLD Mono 10" LP (mady in Prague, by Supraphon)
AMADEO BALDOVINO : * Country: Italy * Born: February 05, 1916 in Alexandria, Egypt
Biography
Amadeo Baldovino was born to a music-loving family that was part of the Italian colony in Alexandria. Among that population was a fine teacher for starting cellists, Francesco Serato, who imparted to his pupils an excellent bowing technique and quick, accurate fingering.
The family moved to Bologna, Italy, where Amadeo studied with Camillo Oblach at the G.B. Martini School of Music. He started appearing in public at the age of ten years and became a popular player in and around Bologna. He graduated from the Martini School at the age of 14. While still a teenager, he played with such major orchestras as the Amsterdam Concertgebouw, the Czech Philharmonic, and the Berlin Philharmonic.
At the age of 20, Baldovino decided to put his concert career on hold while he worked on two areas where he thought he was ill-prepared: the study of musical composition and general educational studies including philosophy. He graduated in composition from the Martini school in 1940 and resumed his concert career. However, Italy was fighting in World War II and Baldovino was called to military service, again causing him to shelve his concert career. After the war finished, he had to start over again in a Europe that was only slowly recovering from the devastation of the conflict.
In 1951, an Italian violinist named Giaconda de Vito invited Baldovino to be her partner in a performance of the Brahms Double Concerto in London with the Philharmonia Orchestra, Malcolm Sargent conducting. He received splendid notices and international attention began to come his way. As his solo career took flight, he also extended his activities in chamber music. In 1957, he formed the Trio Italiano d'Archi (Italian String Trio) with violinist Franco Gulli and violist Bruno Giuranna. The ensemble became very successful. Baldovino left it in 1962 when he was invited to join the Trio di Trieste.
He has also pursued a notable teaching career as a member of the faculties of the Perugia and Rome Conservatories and the Accademia di Santa Cecilia in Rome, and is in demand as a master class teacher throughout Italy. He plays three lovely cellos, a Tononi, a Postiglione, and the 1711 "Mara" Stradivarius, which was nearly lost in a ferryboat accident in the Rio de la Plata between Montevideo and Buenos Aires. He is known for a rich, full tone and solid intonation. He advises students to join chamber music ensembles and to keep such groups together despite initial arguments and the pressure to make quick economic returns in other kinds of music-making. ~ Joseph Stevenson, All Music Guide
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Suite No. 6 in D major, BWV 1012 Suite for Violoncello solo No. 6
It is widely believed that the sixth suite was composed specifically for a five-stringed violoncello piccolo, a smaller cello, roughly the size of a 7/8 normal cello that has a fifth upper string tuned to E, a perfect fifth above the otherwise top string. However, some say there is not substantial evidence to support this claim: whilst three of the sources inform the player that it is written for an instrument "a cinq cordes", only Anna Magdalena Bach's manuscript indicates the tunings of the strings and the other sources do not mention any intended instrument at all.
Other possible instruments for the suite include a version of the violoncello piccolo played on the arm like a viola, as well as a viola with a fifth string tuned to E, called a viola pomposa. As the range required in this piece is very large, the suite was probably intended for a larger instrument, although it is conceivable that Bach—who was fond of the viola—may have performed the work himself on an arm-held violoncello piccolo. However, it is equally likely that beyond hinting the number of strings, Bach did not intend any specific instrument at all as the construction of instruments in the early 18th century was highly variable.
Cellists wishing to play the piece on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of the notes, though modern cellists regularly perform the suite on the 4-string instrument. Performers specialising in early music and using authentic instruments generally use the 5-string cello for this suite, including Anner Bylsma, Pieter Wispelwey, Jaap ter Linden and Josephine van Lier.
This suite is written in much more free form than the others, containing more cadenza-like movements and virtuosic passages. It is also the only one of the suites that is partly notated in the Tenor C clef, which is not needed for the others since they never go above the note G4 (G above middle C).
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