Utwory na płycie:

• 1 Six Shades of Bach - I Prélude .mp3
• 2 Six Shades of Bach - II Allemande .mp3
• 3 Six Shades of Bach - III Courante.mp3
• 4 Six Shades of Bach - IV Sarabande.mp3
• 5 Six Shades of Bach - VI Gigue .mp3
• 6 Six Shades of Bach - I Prelude.mp3
• 7 Six Shades of Bach - II Allemande.mp3
• 8 Six Shades of Bach - III Courante.mp3
• 9 Six Shades of Bach - IV Sarabande.mp3
• 10 Six Shades of Bach - VI Gigue.mp3
• 11 Six Shades of Bach - I Prélude.mp3
• 12 Six Shades of Bach - II Allemande.mp3
• 13 Six Shades of Bach - III Courante.mp3
• 14 Six Shades of Bach - IV Sarabande.mp3
• 15 Six Shades of Bach - VI Gigue.mp3
• 16 Six Shades of Bach - I Prélude.mp3
• 17 Six Shades of Bach - II Allemande.mp3
• 18 Six Shades of Bach - III Courante.mp3
• 19 Six Shades of Bach - IV Sarabande.mp3
• 20 Six Shades of Bach - VI Gigue.mp3
• 21 Six Shades of Bach - I Prélude.mp3
• 22 Six Shades of Bach - II Allemande.mp3
• 23 Six Shades of Bach - III Courante.mp3
• 24 Six Shades of Bach - IV Sarabande.mp3
• 25 Six Shades of Bach - VI Gigue.mp3
• 26 Six Shades of Bach - I Prélude.mp3
• 27 Six Shades of Bach - II Allemande.mp3
• 28 Six Shades of Bach - III Courante.mp3
• 29 Six Shades of Bach - IV Sarabande.mp3
• 30 Six Shades of Bach - VI Gigue.mp3

Max Lilja (afer Johann Sebastian Bach):
Suite 1, Köthen (After J.S. Bach’s BWV 1007)
Suite 2, Maria (After J.S. Bach’s BWV 1008)
Suite 3, Anna Magdalena (After J.S. Bach’s BWV 1009)
Suite 4, Leipzig (After J.S. Bach's BWV 1010)
Suite 5, Death (After J.S. Bach's BWV 1011)
Suite 6, Eternity (After J.S. Bach's BWV 1012)

Finnish cellist Max Lilja, one of the founders of Apocalyptica, takes us on an immersive journey across Johann Sebastian Bach’s life; through merging the iconic Cello Suites with an ambient composition, Lilja enlightens the space around the solitary voice.

To emphasise the continuous transcendence of a life, Lilja builds a solid sense of identity for each suite. The cello is embraced by the sonic world like an individual by the universe. Lilja’s playing has influences from the span of 300 years of existence of the suites, evolving from the simplicity of the 1st suite to almost Romantic in the 6th. His interpretation is inspired by Bach’s rhythmical ideas that expand suite by suite and, as life throughout the years, become more complex and multilayered.

After years of pioneering cello artistry in rock and electronic music, as well as composing for various projects, Lilja returns to his classical roots. With Six Shades of Bach, he presents a first of a kind crossover work, contributing to dialogues about the cello suites and survival of classical music.