BACH - SUITES FOR VIOLA - SUITE NO. 1 + 3 - LILLIAN FUCHS - Classical LP
LP

BACH SUITES FOR VIOLA - SUITE NO. 1 + 3 - LILLIAN FUCHS



LILLIAN FUCHS, VIOLA
USA

DECCA GOLD LABEL SERIES, HIGH FIDELITY
(DL 9914)
DECCA ART MUSIC MASTERPIECE COLLECTION

Record is VG with alot of marks ( listen)


Cover has is taped top and bottom



Side A

BACH SUITES FOR VIOLA - LILLIAN FUCHS,


SUITE NO. 1 IN G MAJOR FOR VIOLA

6 Movements

Side B

BACH SUITES FOR VIOLA - LILLIAN FUCHS,


SUITE NO. 3 IN C MAJOR FOR VIOLA

6 Movements


Lillian Fuchs (November 18, 1901-October 5, 1995), an American violist, teacher and composer, is considered to be among the finest instrumentalists of her time. She hailed from a musically talented family: her brothers, Joseph Fuchs, a violinist, and Harry Fuchs, a cellist, performed with her on numerous commercial recordings. Her children and grandchildren continue in her footsteps


Most of her vinyl recordings are today collector's items (to be found often on eBay) and are otherwise unavailable commercially. DoReMi records has recently re-released a CD version of her 1950's recordings of the Bach Cello Suites. Her interpretation of the sixth suite (composed actually for a five stringed instrument, the viola pomposa) made such an impression on Pablo Casals, that after a private performance she had made for him, he (as told by Miss Fuchs) said to her that it sounded better on the viola than on the cello. She was the first to perform and record the Bach Suites for the viola.


one of the 20th Century's greatest champions and teachers of the instrument. Miss Fuchs was a profoundly gifted musician, but playing the violin and viola did not come easily to her, in contrast to her brother Joseph, who was a prodigy from the beginning. "Are you still struggling with THAT?" he would say contemptuosly to her when they were children, as she worked hard to master something that he had already tossed off.

This struggle made her understand the techniques and challenges of the instrument in a way no prodigy could, and combined with her considerable gifts as a composer, she wrote what are the most idiomatic and practical studies for it. These are not violin pieces transcribed for the viola. They are written with its highly unique problems and assets in mind.