Carl Philipp Emanuel Bach Ophelie Gaillard

• Carl Philipp Emanuel Bach (1714-1788): Concerto pour violoncelle en La Mineur, Wq 170:
• 1 Concerto pour violoncelle en La Mineur, Wq 170: I. allegro assai 10:24
• 2 Concerto pour violoncelle en La Mineur, Wq 170: II. andante 07:21
• 3 Concerto pour violoncelle en La Mineur, Wq 170: III. allegro assai 06:39
• Sinfonia No. 5 en Si Mineur, Wq 182:
• 4 Sinfonia No. 5 en Si Mineur, Wq 182: I. allegretto 03:48
• 5 Sinfonia No. 5 en Si Mineur, Wq 182: II. larghetto 02:12
• 6 Sinfonia No. 5 en Si Mineur, Wq 182: III. presto 03:45
• Concerto pour violoncelle en La Majeur, Wq 172:
• 7 Concerto pour violoncelle en La Majeur, Wq 172: I. allegro 06:18
• 8 Concerto pour violoncelle en La Majeur, Wq 172: II. largo 07:50
• 9 Concerto pour violoncelle en La Majeur, Wq 172: III. allegro assai 05:07
• Sonate en Ut Mineur pour deux violons et basse "Sanguineus & Melancholicus", Wq 161:
• 10 Sonate en Ut Mineur pour deux violons et basse "Sanguineus & Melancholicus", Wq 161: I. allegretto 05:00
• 11 Sonate en Ut Mineur pour deux violons et basse "Sanguineus & Melancholicus", Wq 161: II. adagio 04:35
• 12 Sonate en Ut Mineur pour deux violons et basse "Sanguineus & Melancholicus", Wq 161: III. allegro 08:51
• Total Runtime 01:11:50

Info zu Carl Philipp Emanuel Bach

„Die französische Barock-Cellistin Ophélie Gaillard hat jetzt mit dem Pulcinella Orchestra in zwei Cellokonzerten und einer späten Hamburger Sinfonie den bipolaren Charakter seiner Musik geradezu rabiat hervorgekehrt und Bachs Vorliebe für wilde Affekte und abgerissene Figuren messerscharf umgesetzt.“ (Crescendo)

„Besonders lohnend sind die Interpretationen der Cellokonzerte: Bei beiden Stücken handelt es sich um Transkriptionen, die Bach von eigenen Cembalokonzerten vorgenommen hat, doch beide Werke wirken in dieser Übertragung mindestens so überzeugend und auch erstaunlich idiomatisch. Zu dieser Wirkung trägt Ophélie Gaillard auf ihrem Gofriller-Cello erheblich bei: Der Klang bewahrt sich eine helle Leichtigkeit, besitzt aber einen warmen Kern. Gaillards Spiel ist beweglich genug, um in virtuosen Spielfiguren und ziselierten Seufzern zu überzeugen und besonders in den Mittelsätzen erreicht sie einen innigen kantablen Ausdruck, ohne süßlich oder schwer zu wirken.“ (Rondo Magazin)

Ophelie Gaillard, Cello
Pulcinella Orchestra

Ophélie Gaillard
Her “technical fluency is unimpeachable. Her intonation … is impeccable. She plays with a ripe, absolutely luscious tone. Her use of vibrato is circumspect and period- appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard's playing keeps the listener aware that, except for the preludes, this is sunny, dance-based music.” So wrote the critic Stephen Eddins (Allmusic) of her recent Bach recording (2011), while back in 2007 The Times hailed her “wizard fingering, big lyrical heart and kaleidoscope of colours”.

An insatiable curiosity, a taste for risk, an immoderate appetite for the whole of the concertante cello repertoire, complete disregard of limits and petty quarrels: these are no doubt the features that have always set this brilliant Franco-Swiss musician apart.

Voted ‘Revelation: Solo Instrumentalist of the Year’ at the Victoires de la Musique Classique in 2003, she has since appeared in recital at many prestigious venues.

Ophélie Gaillard is a child of Baroque. In her studies she specialised from a very early age in the early and classical cellos and was soon sharing the stage with Christophe Rousset, Emmanuelle Haïm and Amaryllis, before founding in 2005 Pulcinella, a ‘collective’ of virtuoso soloists with a passion for performance on period instruments. The recordings devoted to Vivaldi (Cello Sonatas and Concertos), Boccherini (Cello Concertos) and Bach (Arias and Cantatas with violoncello piccolo) reaped excellent ratings and several awards.

In 1998 she was the winner of the Leipzig Bach Competition, then in 2000 she recorded Bach’s complete Cello Suites for the Ambroisie label to great critical acclaim. She renewed that exploit in 2011, this time for the Aparté label, and received maximum ratings from Diapason, Strad Magazine, etc.

Ophélie Gaillard also performs modern and contemporary works. She has made successful recordings of Britten’s complete Cello Suites and Piano Sonatas with Vanessa Wagner and of Pierre Bartholomée’s Oraison for solo cello.

The Romantic repertoire is not neglected: she has successfully recorded the complete cello works of Schumann, Fauré, Chopin and Brahms.

She appears as a soloist with the Orchestre de Cannes-Provence-Alpes Côte d’Azur, the Polish Radio Orchestra (under Gabriel Chmura), the Orchestre de Picardie (Edmon Colomer), the European Camerata, the Franz Liszt Orchestra of Budapest, the New Japan Philarmonic under the baton of Werner Andreas Alpert, the Bangkok Symphony Orchestra, the Moscow Chamber Orchestra, the Orchestre de Chambre de Toulouse, the Romanian Radio Orchestra.

Greatly in demand as a teacher, she gives master-classes in Asia and in Latin and Central America. In 2010 she was a member of the jury for the ARD International Music Competition in Munich.

Her solo album Dreams, made with the Royal Philharmonic Orchestra at the legendary Abbey Road Studios in London, proved to be a great public success.

She is heard regularly on radio (France Musique, France Culture, France Inter, Radio Classique, Espace 2, BBC Radio 3) and often appears on television (France 2, Mezzo, Arte).

Ophélie Gaillard plays a cello by Francesco Goffriller (1737), generously loaned to her by CIC, and also a Flemish violoncello piccolo (anonymous).

She has just been appointed Professor at the Haute Ecole de Musique in Geneva.

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