Bach: Suites BWV 1010-1012

On this CD:

1. Suite for solo cello No. 4 in E flat major, BWV 1010
Composed by Johann Sebastian Bach
Performed by Christian Roderburg

2. Suite for solo cello No. 5 in C minor, BWV 1011
Composed by Johann Sebastian Bach
Performed by Christian Roderburg

3. Suite for solo cello No. 6 in D major, BWV 1012
Composed by Johann Sebastian Bach
Performed by Christian Roderburg

Tracks:

suite nr.1 (BWV 1007) In G Major: I: prelude
suite nr.1 (BWV 1007) In G Major: II: allemande
suite nr.1 (BWV 1007) In G Major: III: courante
suite nr.1 (BWV 1007) In G Major: IV: sarabande
suite nr.1 (BWV 1007) In G Major: V: menuet I -
suite nr.1 (BWV 1007) In G Major: menuet II - menuet I
suite nr.1 (BWV 1007) In G Major: VI: gigue
suite nr.4 (BWV 1010) In F Flat Major: I: prelude
suite nr.4 (BWV 1010) In F Flat Major: II: allemande
suite nr.4 (BWV 1010) In F Flat Major: III: courante
suite nr.4 (BWV 1010) In F Flat Major: IV: sarabande
suite nr.4 (BWV 1010) In F Flat Major: V: bourree I -
suite nr.4 (BWV 1010) In F Flat Major: bourree II - bourree I
suite nr.4 (BWV 1010) In F Flat Major: VI: gigue
suite nr.5 (BWV 1011) In C Minor: I: prelude
suite nr.5 (BWV 1011) In C Minor: II: allemande
suite nr.5 (BWV 1011) In C Minor: III: courante
suite nr.5 (BWV 1011) In C Minor: IV: sarabande
suite nr.5 (BWV 1011) In C Minor: V: gavotte I -
suite nr.5 (BWV 1011) In C Minor: gavotte II - gavotte I
suite nr.5 (BWV 1011) In C Minor: VI: gigue

Tracks:

suite nr. 2 (BWV 1008) In D Minor: I: prelude
suite nr. 2 (BWV 1008) In D Minor: II: allemande
suite nr. 2 (BWV 1008) In D Minor: III: courante
suite nr. 2 (BWV 1008) In D Minor: IV: sarabande
suite nr. 2 (BWV 1008) In D Minor: V: menuet I -
suite nr. 2 (BWV 1008) In D Minor: menuet II - menuet I
suite nr. 2 (BWV 1008) In D Minor: VI: gigue
suite nr. 3 (BWV 1009) In C Major: I: prelude
suite nr. 3 (BWV 1009) In C Major: II: allemande
suite nr. 3 (BWV 1009) In C Major: III: courante
suite nr. 3 (BWV 1009) In C Major: IV: sarabande
suite nr. 3 (BWV 1009) In C Major: V: bourree I -
suite nr. 3 (BWV 1009) In C Major: bourree II - bourree I
suite nr. 3 (BWV 1009) In C Major: VI: gigue
suite nr. 6 (BWV 1012) In D Major: I: prelude
suite nr. 6 (BWV 1012) In D Major: II: allemande
suite nr. 6 (BWV 1012) In D Major: III: courante
suite nr. 6 (BWV 1012) In D Major: IV: sarabande
suite nr. 6 (BWV 1012) In D Major: V: gavotte I -
suite nr. 6 (BWV 1012) In D Major: gavotte II - gavotte I
suite nr. 6 (BWV 1012) In D Major: VI: gigue

Amazon.com

Mstislav Rostropovich is one of the few musicians who can create a larger-than-life experience through the combined forces of exceptional music, a beautiful instrument, and uncommonly facile communicative skills. In his performances of Bach's transcendent masterpieces for solo cello, Rostropovich finds a perfect balance between a romantic, rhapsodic interpretation and one that emphasizes the purely formal "aridity" of Bach's structures. Although it's nearly impossible to isolate one or two highlights, the Sarabande and Prelude from Suite No. 5 are among the most profoundly moving cello performances you will ever hear--the closest we probably will ever come to experiencing through music the soul of both Rostropovich and Bach. Not everyone will immediately appreciate the very resonant sound that emphasizes the cello's lower register. But after a few minutes your ears adjust, the music takes over, and nothing else seems important. --David Vernier

Customer Reviews:

Dullsville!.......2007-06-01

I love the cover of this record, though. Reminds me of Don Quixote trying to play the cello standing up, like Woody Allen in a marching band! Slow and flat, with no dance or swing to it. Obviously there's a reason he never recorded them till he was past it (just as there's a reason they weren't played for 150 years). The suites are obscure and intimate, and there was little use for them before recording. Casals played them daily, to "consecrate the house" and found the special music in them. Some good Rostropovich is the Beethoven cello sonatas with Richter, but for Bach you should get Casals (1), Fournier (2), (or Starker or the earlier Ma if you find them on sale.)

Bach Cello Suites No.1~6 by Rostropovich.......2007-05-13

I meant to listen to Bach suites and I finally purchased. Unfortunatelly Rostropovich passing on. I am taking cello lesson and I can say that this CD is true classic and true cellist of dreams.

Deeply satisfying.......2005-12-01

When I heard these recordings for the first time, I almost wept. I don't know if this makes any sense, but the only way of saying how I felt was that it was like coming home. Rostropovich plays so simply and directly that one feels all pretense peel away. If art is an imitation of the glory that is nature, and performance an imitation of the art, then this is probably as close as you can come to removing the imitation and having a direct physical, emotional, and spiritual communion. Superlatives fail me and seem trite, so I think I should make this short. Bach's cello music is some of the most beautiful art ever created, and it has such remarkable power to heal the soul. Every human being who appreciates music deserves the priviledge of hearing this music. As I mentioned, the performance is superb, like an improvisation but so carefuly though out and so deeply felt. The recording quality is excellent too, capturing the meltingly beautiful sounds of Rostropovich's cello. Please listen to this; I hope you will be as moved as I was. If I can make a suggestion relevant to the time I'm writing this (Nov. 30th), make a present of this to someone you love for the holidays, the time of peace, as this is one of the great musical expressions of peace and boundless love.

The Best.......2005-10-26

Many people will argue that classical music is to be heard from a large symphony. I disagree. The ability of a single cello to convey an unlimited range of emotion and to personify the music is astounding. This performance of the Bach Cello suites is no exception, Rostropovich lacks the technical perfection of Yo Yo Ma, a good thing in my opinion, because it gives the music a certain personality and warmth. This is, and has been, my favorite collection of music, and to hear it played by Rostropovich justifys anyones love of it. It is simply the best cello collection on CD.

Exemplary Performances!.......2005-10-20

Mstislav Rostropovich has always been a world reknown cellist and one can definitely understand why when hearing these magnificent pieces being played by him. With also a great sound quality, it is truly a great album worth buying!

The Baroque period was one in which the science of musical interpretation was still growing. Many pieces of that period were generally unfriendly to a director or musician in terms of interpreting the meter: most notations were rather bare in that regard. A composer's meaning of 'adagio' could mean something very different to a stranger conducing the piece: how slow? Bach's cello sonatas are a perfect example which is even more respect to Rostropovich's interpretation and performance. A truly outsanding musician is demonstrated here in this recording. Rostropovich has a passionate and delicate interpretation that is neither overly rigid or romantic: they remain austere pieces but also have a spiritual quality to them that is most endearing.

This is a great set of albums for a complete set of Bach's cello suites. Rostropovich remains a highly respected performer and one will understand why when hearing these majestic pieces. A great buy!

Average customer rating:

The Marrow of Life in Sound
Bach Cello Suites - Pablo Casals
Cello in your living room
Remastered EMI or the Japanese Opus Kura?
A must - have!

Bach: Cello Suites

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bach: Suites for Solo Cello

ASIN: B0000CG8EF
Release Date: 2003-10-07

Tracks:

I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Menuet I & II
VI: Gigue
I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Menuet I & II
VI: Gigue
I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Bourree I & II
VI: Gigue

Tracks:

I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Bourree I & II
VI: Gigue
I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Gavotte I & II
VI: Gigue
I: Prelude
II: Allemande
III: Courante
IV: Sarabande
V: Gavotte I & II
VI: Gigue

Customer Reviews:

The Marrow of Life in Sound.......2007-05-28

This music breathes, lives . . . is creation! Whatever recording one chooses of the Casals, by all means, acquire one. Not to disappoint the experts and perfectionists, I'm fine with this one, the EMI, occasionally hissing backdrops and all. Whenever I find myself in the slough of total despair, too dizzy to get off the mat, I spin the Casals, and listen: that's life talking!

Bach Cello Suites - Pablo Casals.......2007-05-14

Recently, I vacationed in San Juan, Puerto Rico. The place Pablo Casals made his permanent home from 1956 to his death in 1973. In my hotel, his recording of the Bach Cello Suites was played endlessly. The entire week I was there only this recording of Pablo Casals' Bach Cello Suites was ever heard in all the public areas of the hotel El Convento. I never tired of it. I am a violinist by profession and also have the Lynn Harrell recordings but not the YoYo Ma. When I came home I knew that I need to buy the Casals recording. It may be because they were recorded in 1935 and the methods of recording were so different from today. The more I listened the more I heard , I could even hear small errors when his bow didn't quite contact with the string on string changes. I loved this because it was done like a live recording - not done over and over for total perfection. It is human. Tempos, dynamics and ornaments were all to my liking. His playing comforts my soul. I also recommend reading Pablo Casals book, "Joys and Sorrows" written in 1970. This book is no longer in print but used copies are available through Amazon. Casals was one of the worlds greatest musicians and a great humanitarian. He was also one of the late Mstislav Rostropovich's teachers.

Cello in your living room.......2007-01-11

Intimate surroundings or just by yourself listening on headphones is the way to go. I enjoy this record and have played it numerous times over and over.

Remastered EMI or the Japanese Opus Kura?.......2006-11-12

I won't discuss the merits of Pablo Casals' version of Bach's Suites for Solo Cello, other reviewers have already done that. I will note that he ranks in the very top tier out of all the 12 versions I own. My other top tier favorites are Navarra, Fournier, Starker and Thedeen.

I do not own Ma's latest version nor Rostropovich's version, but I have heard them both. I find Ma to be too slick for his own good - he is indeed so technically correct that he plays the notes a bit too perfectly and in doing so somehow loses the essence of the music... if that makes any sense? Ultimately I do not find Ma convincing, a computer could be programmed to do the same thing. Rostropovich, however, is just the opposite, too sloppy (or some would say too romantic) - he just doesn't sound like Bach to me. I do like a few of his interpretations, but overall I think he misses the mark more than he finds it. I do not mean to suggest that both Ma and Rostropovich do not have their moments or that others have not found them satisfying, but overall there are other performers that just do a better job for me in terms of what I find important. My favorites are not going to be the same as yours all the time. But, at least now you know where I am coming from and where my biases are.

For Casals, the main issue is the sound quality of the various versions that are available. There is the older EMI version, the Remastered EMI, Naxos, Pearl, Opus Kura and Classica D'oro. Out of these choices, which one has the best trade off between noise reduction and the music? These are all sourced from old 78's recorded in the late 1930's, but each uses a different approach to noise reduction. I started off as most of you probably have by listening to the internet MP3 sound bites of all of the various versions - MP3s are not exactly the best way to make a judgment call on sound quality, but I did find that the two versions on CD that I did eventually purchase actually sound very much like the MP3s - there were no surprises in that regard.

So, from that listening perspective (MP3) I can tell you that I was not impressed by the Naxos version nor the Classica D'oro version. Naxos sounded hollow, boxed in and constricted and the Classica D'oro just sounded very processed. I realize that many reviewers praise the Naxos version, but I found the MP3 sound bite to be very constricted - again, this is only the MP3 sound bite, so take it for what it is worth. The MP3 of Opus Kura had a lot of hiss, the most of all these versions, but it also had a very full sound. The Remastered EMI MP3 also had a full sound, but with only moderate hiss. The Pearl sounded decent as well, but perhaps not quite as good as the Opus Kura or Remastered EMI. The Pearl was done somewhat earlier than all the others. So, I passed on the Naxos and the Classica D'oro for quality reasons. I also passed on the Pearl and instead purchased both the Opus Kura and the Remastered EMI versions, as those were also the ones done most recently and hopefully with the latest technology. The Japanese Opus Kura label also has a very solid reputation of valuing musical integrity over all else.

A quick comment on the two EMI versions. Most critics did not like the older EMI version because of overdone noise reduction. I have not heard that version, nor do I ever want to considering the many negative reviews I have seen! However, EMI remastered these performances in 2003 and this has apparently resulted in a much improved product.

O.K. now on to the comparisons; for hiss levels, both the Opus Kura and the Remastered EMI had quite a bit of hiss and surface noise. The Remastered EMI wins with less overall hiss noise and somewhat lower surface noise as well. The Opus Kura clearly has more hiss. It's not always a whole lot more, but it is more and it is more noticeable on some tracks versus others. But, note that the hiss levels can always be adjusted very easily with a graphic equalizer or more preferably with a noise gate. I did make an experimental CD-R copy of the Opus Kura on a CD-R with a noise gate (using Nero) and the result was very good and comparable to the Remastered EMI version in terms of hiss. Even so, if hiss is your major concern and you don't want to mess with a noise gate then just get the Remastered EMI version.

However, if you ignore hiss as a factor, which version sounds better in the living room? And by the way I have an audiophile quality sound system. Here Opus Kura wins hands down. There is no comparison. Opus Kura has all the room ambiance and lower bass tone, overtones and frequency range that the Remastered EMI version has filtered out. The Remastered EMI has no low bass where all the overtones reside - it's just not there and as a result the mid bass stands out more. I must admit that this approach has it's own appeal as it gives the illusion that the recording is both sharper and tighter sounding than it really is and it does bring out more of the mid bass, but the reality is that you are not getting all of the music as originally recorded. Still, it does not sound "bad" and perhaps this is a good trade off. The Opus Kura, on the other hand, fills the room with all the music, including all the lower bass overtones and makes it seem like Pablo is in the room. If you turn the Opus Kura up loud and go into the next room you would think Casals is actually in there playing live. The Remastered EMI in the same test sounds cleaner, but without the deepest overtones it sounds less like a real cello and more like just a deep toned viola - this is a solo cello we are talking about and you don't just EQ out the tonal quality of the instrument (and the room ambience) without losing some of the realism. That being said, it really comes down to personal choice. After listening for a few minutes the ear adjusts to either version. If you did not have the more natural sounding Opus Kura to compare to you would never know what you are missing with the Remastered EMI version. On the other hand, some listeners will actually appreciate the different tonal emphasis on the mid bass that the Remastered EMI offers. I did an A-B blind test with a friend who noted immediately the lack of bass in the Remastered EMI, yet still enjoyed listening to that one as much as the Opus Kura. She did not have a particular preference for one over the other, but they sound so different from each other that at first she thought these were entirely difference performances from different artists! Obviously, some of you will only care about getting rid of "all the hiss", while others want "all of the music." You know who you are. The Opus Kura version strives to keep all the music regardless while the Remastered EMI compromises a bit to lower the noise levels.

A few comments on listening in the car; I really cannot tolerate much hiss in a small confined environment like the car where it can really drown out the music. So, I made my own CD-R recording of the Opus Kura with the NERO noise gate set at 62db for the level and 30db for reduction. This works very well in cutting the hiss down to size and still retaining the music. The only problem with noise gates is that people tend to overuse it - just a little is enough! I did the same with the Remastered EMI at a slightly higher level (70db) and 30db and this also gave a fine result in terms of acceptable hiss levels. Because the three-dimensionality and room ambiance is not as much of an issue in the car environment, I would say that either version (the Opus Kura or the Remastered EMI) would work fine in the car - and if you happen to also have a graphic equalizer the right adjustments might also help make a difference.

Here's the bottom line. For the best sound in your living room, my personal choice is the Opus Kura with the full range of sound, but with more hiss and more surface noise. The Remastered EMI, however, is a fair enough alternative with lower hiss levels and hardly any surface noise (most of the time) and an emphasis (rightly or wrongly) on the just the mid bass. For the car, I think either version works out o.k., but only if you do some remastering yourself with a noise gate to make your own personalized CD-R version that cuts down the hiss.

I hope this helps.

A must - have!.......2006-10-31

Among the annals of the definitive performances of the XX Century, these performances still stand out as an incandescent and refulgent star in the musical firmament. Casals devoted almost his entire life to get the supreme perfection at the moment to play these suites. And believe me, he followed his bliss and inscribed his name in the Pantheon of the Immortals.

An absolute must for any serious and dedicated listener.

Bach: The Cello Suites Inspired By Bach, From The Six-Part Film Series / Yo-Yo Ma

Average customer rating:

No, Yo Yo ....
Inspired by Ma!
A must-have recording!
Bravo Yo Yo !
Very good

Bach: The Cello Suites Inspired By Bach, From The Six-Part Film Series / Yo-Yo Ma

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029YB
Release Date: 1998-02-17

Tracks:

Suite No. 1 In G Major: Prelude - J. S. Bach
Suite No. 1 In G Major: Allemande - J. S. Bach
Suite No. 1 In G Major: Courante - J. S. Bach
Suite No. 1 In G Major: Sarabande - J. S. Bach
Suite No. 1 In G Major: Menuett 1 - 2 - J. S. Bach
Suite No. 1 In G Major: Gigue - J. S. Bach
Suite No. 2 in D minor: Prelude - J. S. Bach
Suite No. 2 in D minor: Allemande - J. S. Bach
Suite No. 2 in D minor: Courante - J. S. Bach
Suite No. 2 in D minor: Sarabande - J. S. Bach
Suite No. 2 in D minor: Menuett I 1 - 2 - J. S. Bach
Suite No. 2 in D minor: Gigue - J. S. Bach
Suite No. 3 In C Major: Prelude - J. S. Bach
Suite No. 3 In C Major: Allemande - J. S. Bach
Suite No. 3 In C Major: Courante - J. S. Bach
Suite No. 3 In C Major: Sarabande - J. S. Bach
Suite No. 3 In C Major: Bourree 1 - 2 - J. S. Bach
Suite No. 3 In C Major: Gigue - J. S. Bach
Suite No. 4 In E-Flat Major: Prelude - J. S. Bach
Suite No. 4 In E-Flat Major: Allemande - J. S. Bach
Suite No. 4 In E-Flat Major: Courante - J. S. Bach

Tracks:

Suite 4 in E flat Major: Sarabande - J.S.Bach
Suite 4 in E flat Major: Bouree 1- 2 - J.S.Bach
Suite 4 in E flat Major: Gigue - J.S.Bach
Suite 5 in C Minor: Prelude - J.S.Bach
Suite 5 in C Minor: Allemande - J.S.Bach
Suite 5 in C Minor: Courante - J.S.Bach
Suite 5 in C Minor: Sarabande - J.S.Bach
Suite 5 in C Minor: Gavotte 1 - 2 - J.S.Bach
Suite 5 in C Minor: Gigue - J.S.Bach
Suite 6 in D Major: Prelude - J.S.Bach
Suite 6 in D Major: Allemande - J.S.Bach
Suite 6 in D Major: Courante - J.S.Bach
Suite 6 in D Major: Sarabande - J.S.Bach
Suite 6 in D Major: Gavotte 1 - 2 - J.S.Bach
Suite 6 in D Major: Gigue - J.S.Bach

Amazon.com essential recording

Though they were long misunderstood as mere technical hurdles, Bach's six suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the suites back in the '80s (Suites for Unaccompanied Cello ) but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each suite. While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence. His interpretations are probing, characterized by imaginative bowing and attention to the spacious architecture of Bach's score. This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail. True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music. But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing. There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets. Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements. While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas May

Customer Reviews:

No, Yo Yo ...........2007-03-11

A sub-standard, glossy, and sometimes sentimental interpretation of the Suites. Skip this one and go for the Rostropovich - always intelligent and inspired - never sentimental.

Inspired by Ma!.......2006-01-20

The music on this second recording of Yo-Yo Ma's is fantastic. Admittedly, the packaging is a little confusing (the title itself is a little misleading-- as if it were not comprised of Bach compositions). But the only real complaint is that the fourth suite is split in half on the two CDs. This would be easily solved by by putting 1, 3 & 5 on one CD & 2, 4 & 6 on the other.

But the important thing is the MUSIC & I'll nevertheless give this CD set 5 stars-- this is essential listening!

I think of Bach's cello suites like the Dao De Jing-- it is open to so many endless possibilities in translation. But what I find so appealing in this recording is Ma's fine sense of balance between a 'classical' & 'romantic' approach to the cello suites. Ma is certainly not metronomically rigid with his reading, but neither is it too free. I think he strikes just the right balance in these recordings.

The famous Prelude of the first suite is at a surprisingly fast tempo (so I thought) but it flows-- it is not hurried-- one almost gets the impression of movement but stillness at the same time.

Though for a solo instrument, Bach's cello suites often sound like two, sometimes even three instruments playing at once! And what is amazing is Ma takes on the different 'voices' like an actor playing out all the parts-- the different implied musical lines of this virtual polyphony are brought out by Ma's playing by differences in bowing, volume & character.

The recording itself is so amazingly warm-- you can really feel the wood in the recording. Yo-Yo Ma's cello dances, leaps, sings & soars here.

The sixth suite is my personal favourite, especially the gavotte. It was listening to the sample here on Amazon that convinced me that I needed to own this recording. It is one of the most beautiful things Bach ever wrote I think.

I have three other recordings of the cello suites, but I confess that this is by far the most human & the most warm. Bach's cello suites are perhaps some of the greatest music EVER written & Ma simply channel's the music so exquisitely here.

You have not lived if you haven't listened to Bach's suites for cello! Do yourself a favour & get this recording-- you won't be sorry! I will cherish this recording always...

A must-have recording!.......2005-08-25

OK... I'm very late to weigh in on this CD as I see there are already so many reviews about it but I've been enjoying this CD so much that I just had to share my thoughts with you.
The fluidity of Yo-Yo Ma's playing is incredible. What I've come to appreciate more and more is his willingness - eagerness to have fun and take risks. From his recordings with Bobby McFerrin to his Obrigado Brazil recordings to simply Baroque all these recordings show a man who is so totally comfortable in any style or setting in which he might choose to play.
My congratulations to the recording staff "behind the scenes" as they most certainly had to have been inspired, judging by the quality recording they have produced. Too many times, really great performances can fail to convey the sense of presence that this recording has captured. They have given us a gift no matter what price you've paid for this CD; he's in your room, complete with the sense of ambiance and room boundaries that he was recorded in.
Don't bother with all the surround sound settings! Throw that all away and simply listen in two-channel stereo.
When people have written about what nice background music this makes I can only grin inside. Yes, it's charming. Yes, it's easy to live around but it also can compel you to sit and listen. How often does that happen?
This is a lovely recording of a masterful performance by one heck of a talented musician.

Bravo Yo Yo !.......2005-06-28

Comparé à sa version de 1983, Yo Yo Ma semble ici plus intériorisé(version 1994). Son approche est plus réfléchie
avec des aspects plus méditatifs, quoiqu'un peu «pathos» à certains moments.
Bonne version si vous cherchez autre chose que l'accent baroque.
Merci d'avoir lu mon humble avis. R.R

Very good.......2005-03-24

This set could possibly be the best you can get for the complete Bach Cello Suites. The people who write bad reviews for Yo-Yo Ma's recordings probably think, as I myself used to, that he is overrated and not very professional. However, I have come to realize that Yo-Yo Ma is a very professional musician, and really is one of the best cellists alive. I have seen him play concerts on TV, and every gesture and sound he makes seems deeply inspired and it truly seems like he understands the music. This recording is no exception. Each cello suite is marvelously performed (and from what I hear, even better than the older recording he made), and the sound quality is extraordinary. Highly recommended.

Average customer rating:

exquisite
Musically very pleasing, though not the best.
Better performances available
Music for the Heart
Aristocratic Bach!

Bach: Six Unaccompanied Cello Suites

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000025QM
Release Date: 1990-10-25

Tracks:

Suite No. 1, S. 1007 In G Major: Prelude
Suite No. 1, S. 1007 In G Major: Allemande
Suite No. 1, S. 1007 In G Major: Courante
Suite No. 1, S. 1007 In G Major: Sarabande
Suite No. 1, S. 1007 In G Major: Menuett
Suite No. 1, S. 1007 In G Major: Gigue
Suite No. 4, S. 1010 In E-Flat Major: Prelude
Suite No. 4, S. 1010 In E-Flat Major: Allemande
Suite No. 4, S. 1010 In E-Flat Major: Courante
Suite No. 4, S. 1010 In E-Flat Major: Sarabande
Suite No. 4, S. 1010 In E-Flat Major: Bourree
Suite No. 4, S. 1010 In E-Flat Major: Gigue
Suite No. 5, S. 1011 In C Minor: Prelude
Suite No. 5, S. 1011 In C Minor: Allemande
Suite No. 5, S. 1011 In C Minor: Courante
Suite No. 5, S. 1011 In C Minor: Sarabande
Suite No. 5, S. 1011 In C Minor: Gavotte
Suite No. 5, S. 1011 In C Minor: Gigue

Tracks:

Suite No. 2, S. 1008 In D Minor: Prelude
Suite No. 2, S. 1008 In D Minor: Allemande
Suite No. 2, S. 1008 In D Minor: Courante
Suite No. 2, S. 1008 In D Minor: Sarabande
Suite No. 2, S. 1008 In D Minor: Menuett
Suite No. 2, S. 1008 In D Minor: Gigue
Suite No. 3, S. 1009 In C Major: Prelude
Suite No. 3, S. 1009 In C Major: Allemande
Suite No. 3, S. 1009 In C Major: Courante
Suite No. 3, S. 1009 In C Major: Sarabande
Suite No. 3, S. 1009 In C Major: Bouree
Suite No. 3, S. 1009 In C Major: Gigue
Suite No. 6, S. 1012 In D Major: Prelude
Suite No. 6, S. 1012 In D Major: Allemande
Suite No. 6, S. 1012 In D Major: Courante
Suite No. 6, S. 1012 In D Major: Sarabande
Suite No. 6, S. 1012 In D Major: Gavotte
Suite No. 6, S. 1012 In D Major: Gigue

Amazon.com

This is Yo-Yo Ma's first recording of Bach's Cello Suites, digitally recorded in 1983 and first issued on LP. He has since made a second recording of the Suites in 1998, taken from the soundtrack of a video series, so it's interesting that the earlier set remains available. If you've been lucky enough to hear Ma play this music in concert, you'll realize that neither set represents his Bach at its best. This rendition is generally quite straightforward, beautifully played and musically sound but sometimes not very emotional. The second set is more expressive but frequently seems self-conscious. Either of these recordings is a worthy representation of Bach's superb music, but neither attains the mature eloquence of Starker's final recording, a level Ma will probably reach himself in his third recording. --Leslie Gerber

Customer Reviews:

exquisite.......2007-07-05

The most exquisite classical recording you will ever buy. I have owned the vinyl for years and bought the CD's for convenience - car, kitchen. Ma is the best, and the sound quality is extraordinary - you can sometimes hear him breathing!

Musically very pleasing, though not the best........2007-05-18

It would be harsh - with such great exponents of these suites recorded before him, to compare Mr. Ma's playing with other great cellists.
I agree that if you concentrate on the dances in the suites, you will find the best of Ma's interpretation. They are musical, soulful and beautiful. Elsewhere, like in Preludes, the required depth and nuance are some what missing. Listen to Rostropovich, for example, an immediate difference surfaces.
Even so, a 4 star rating is still well-deserved, bearing in mind that Mr. Ma was not yet 30 years old when he recorded this album.

Better performances available.......2007-03-27

Although some would call this performance "straightforward," it lacks the depth and richness of available recordings by Fournier, Casals, and Rostropovich. Before purchasing, take the time to listen to the Suite No. 1 Prelude of all four cellists. Whereas Fournier, Casals, and Rostropovich are movingly expressive, Yo-Yo Ma's is "on point" but lacking emotion.

I wanted to buy this CD but had no performer in mind. I first chose Yo-Yo Ma just because I'd heard of him. After a quick review of other customer comments and my own test runs, I decided to buy Fournier, Casals, AND Rostropovich, just because I was excited to hear a familiar piece played so beautifully in three different ways. Note that Yo-Yo Ma didn't make the cut.

Music for the Heart.......2006-12-25

The experience of music doesn't get better than this, and rarely as good. The Bach cello suites take you into an inner space that most folks in this culture never visit, and Ma takes you there effortlessly, with nothing to separate you from this imperishable gift that Bach gave the world. Listen to it over and over again, and you will only grow deeper into this music. Mediate with it, and if you have animals in your life, play it for them and just watch what happens.

Aristocratic Bach!.......2006-03-28

Yo Yo Ma has inscribed his name in the sacred Pantheon of the great cellists of the story with this impeccable work. Bach' s Suites for Cello are the maximum artistic peak into the literature for this instrument.

And Yo Yo Ma climbed that glorious peak. Go for these treasured recordings.

Bach: Cello Suites, Sonatas & Partitas for Solo Violin - Christian Tetzlaff & Ralph Kirshbaum (4 CD's)

Average customer rating:

Excellent overall
Wonderful
Unbelievable!

Bach: Cello Suites, Sonatas & Partitas for Solo Violin - Christian Tetzlaff & Ralph Kirshbaum (4 CD's)
Christian Tetzlaff , Ralph Kirshbaum , and Johann Sebastian Bach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00030FJ9Y
Release Date: 2004-11-16

Tracks:

1. Adagio - Christian Tetzlaff
2. Fuga (Allegro) - Christian Tetzlaff
3. Siciliana - Christian Tetzlaff
4. Presto - Christian Tetzlaff
1. Allemanda - Christian Tetzlaff
Double - Christian Tetzlaff
2. Corrente - Christian Tetzlaff
Double (Presto) - Christian Tetzlaff
3. Sarabande - Christian Tetzlaff
Double - Christian Tetzlaff
4. Bourree - Christian Tetzlaff
Double - Christian Tetzlaff
1. Grave - Christian Tetzlaff
2. Fuga - Christian Tetzlaff
3. Andante - Christian Tetzlaff
4. Allegro - Christian Tetzlaff

Tracks:

1. Allemanda - Christian Tetzlaff
2. Corrente - Christian Tetzlaff
3. Sarabanda - Christian Tetzlaff
4. Giga - Christian Tetzlaff
5. Ciaccona - Christian Tetzlaff
1. Adagio - Christian Tetzlaff
2. Fuga - Christian Tetzlaff
3. Largo - Christian Tetzlaff
4. Allegro Assai - Christian Tetzlaff
1. Preludio - Christian Tetzlaff
2. Loure - Christian Tetzlaff
3. Gavotte En Rondo - Christian Tetzlaff
4. Menuet 1/Menuet 2 - Christian Tetzlaff
5. Bourree - Christian Tetzlaff
6. Gigue - Christian Tetzlaff

Tracks:

1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Menuet 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Bourree 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Gavotte 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum

Tracks:

1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Menuet 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Bourree 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Gavotte 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum

Customer Reviews:

Excellent overall.......2006-03-28

The two works presented in this bargain set represent Johann Sebastian Bach's greatest contribution to the solo string reportoire.

Although usually marginalized, the Cello Suites are hidden diamonds in the solo literature, requiring a depth of humanity and musicality that few performers actually achieve, so concerned as they are with simply hacking away at this seemingly simple music. Kirshbaum's reading is full of warmth and power, and his instrument (from Bach's time period) sings almost of its own accord. Tempi are just right; the sense of pacing in the G Major Prelude is magnificent, giving the piece a gently rocking feel. Kirshbaum's double stopping (as called for by many of the Allemanda movements) is impeccable and very clean; the harsh, biting sound such double-stopping requires from other performers is not present here.

The focal point of the set is, of course, Christian Tetzlaff's reading of the Six Solos. In comparison with the "big names," such as Perlman, Milstein, and Grumiaux, Tetzlaff cannot quite compete. His tempi are exceedingly swift, and he lacks much of the humanity present in Milstein and Menuhin. As a result, the quicker movements, such as the E Major Preludio and the B minor Doubles, sound less like the masterpieces they are and more like simple etudes to be sawed away on.

Tetzlaff's traversal of the Chaconne, however, is a breathless, exciting journey, and he is in top form during the massive fugues in each sonata. The recording location, while resonant, allows the violin's sound to sing without losing it in a sea of reverb. Although he suffers from tempi issues, Tetzlaff's technique is never in doubt, and he is solid and secure (perhaps even a bit too secure) during this recording.

Overall, despite issues with tempi in the Six Solos, this set is a great bargain, and hopefully Tetzlaff will decide to record these pieces again later in life.

Wonderful.......2006-01-10

I've been listening to and studying Bach's solo cello and violin works for over 30 years. Although I love this music dearly, it's rare that I'm surprized by it anymore. However, listening to Tetzlaff and Kirshbaum, I felt as if I were hearing them for the first time all over again. Both musicians are such masters of their instruments that their "technique" never intrudes on the music. These are really breathtaking performances.

Unbelievable!.......2005-10-19

Both these artists are exceptional. I have always had trouble listening to "anybody else's interpretation" of the bach cello suites, being a cellist myself. This one is truly outstanding. The excellent Bach solo violin interpretation by Christian Tetzlaff is just an added plus -- I was most impressed that my father listened through all the way and just made one or two comments about how the music was "alive". He was rapt. My father doesn't do that easily.

Average customer rating:

"big" Bach
Great!
Full of Life
Honest approach and convincing resolution!
pure delight

Bach: Suites for Solo Cello

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Bach: 6 Suiten für Violoncello solo
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ASIN: B000003FD9
Release Date: 1997-03-11

Tracks:

Suite No. 1, BWV 1007, In G: Prelude
Suite No. 1, BWV 1007, In G: Allemande
Suite No. 1, BWV 1007, In G: Courante
Suite No. 1, BWV 1007, In G: Sarabande
Suite No. 1, BWV 1007, In G: Menuet 1 & 2
Suite No. 1, BWV 1007, In G: Gigue
Suite No. 3, BWV 1009, In C: Prelude
Suite No. 3, BWV 1009, In C: Allemande
Suite No. 3, BWV 1009, In C: Courante
Suite No. 3, BWV 1009, In C: Sarabande
Suite No. 3, BWV 1009, In C: Bourr1 & 2
Suite No. 3, BWV 1009, In C: Gigue
Suite No. 5, BWV 1011, In C Minor: Prelude
Suite No. 5, BWV 1011, In C Minor: Allemande
Suite No. 5, BWV 1011, In C Minor: Courante
Suite No. 5, BWV 1011, In C Minor: Sarabande
Suite No. 5, BWV 1011, In C Minor: Gavotte 1 & 2
Suite No. 5, BWV 1011, In C Minor: Gigue

Tracks:

Suite No. 2, BWV 1008, In D Minor: Prelude
Suite No. 2, BWV 1008, In D Minor: Allemande
Suite No. 2, BWV 1008, In D Minor: Courante
Suite No. 2, BWV 1008, In D Minor: Sarabande
Suite No. 2, BWV 1008, In D Minor: Menuet 1 & 2
Suite No. 2, BWV 1008, In D Minor: Gigue
Suite No. 4, BWV 1010, In E-Flat: Prelude
Suite No. 4, BWV 1010, In E-Flat: Allemande
Suite No. 4, BWV 1010, In E-Flat: Courante
Suite No. 4, BWV 1010, In E-Flat: Sarabande
Suite No. 4, BWV 1010, In E-Flat: Bourr1 & 2
Suite No. 4, BWV 1010, In E-Flat: Gigue
Suite No. 6, BWV 1012, In D: Prelude
Suite No. 6, BWV 1012, In D: Allemande
Suite No. 6, BWV 1012, In D: Courante
Suite No. 6, BWV 1012, In D: Sarabande
Suite No. 6, BWV 1012, In D: Gavotte 1 & 2
Suite No. 6, BWV 1012, In D: Gigue

Amazon.com

This is Janos Starker's fifth recording of Bach's cello suites. His third set, for Mercury (423 756-2), is even more perfectly played. But the musical maturity, the subtlety of inflection and expression, in this set is truly incomparable. Unlike his earlier recordings, Starker now plays all the marked repeats in the score, making them an even richer experience. This playing satisfies all requirements of the head and the heart; it makes every point you want to hear, and it's profoundly moving. This recording is one of the best Bach sets in the catalogs, and one of the most justified Grammy awards ever. --Leslie Gerber

Customer Reviews:

"big" Bach.......2006-11-02

Listening to these readings of the Bach solo Cello suites, I was reminded of Herbert von Karajan's 1960's recordings of the Beethoven symphonies with the Berlin Philharmonic. That was "big" Beethoven, just as Starker's performances here are "big" Bach: tempos are taken rather slow (except in the especially lively, dance-like movements, which are played at a good clip) and long, arching, legato lines are drawn out of the scores. Everything is lush and broad and expansive; rich, resonant, and very modern instrumental sonorities are perhaps the centerpiece of this opulent, mid-century style of playing. (This album was in fact recorded in '92, late in the century, but it was Starker's fifth and last recording of these works, made in his old age. His aesthetic ethos is unmistakably that of the middle 20th century, the formative time of his youth.)

The wonderful thing about listening to different interpretations of these works is, they are just that: very different interpretations. Each great player to approach them brings such a different style and expression out of them than the next does. If I had to choose, I suppose I would take Pierre Fournier's readings as my first choice; but I am quite fond of almost all of the different interpretations of these works that I know, and so I heartily recommend this disc if you are considering it.

Great!.......2006-10-13

Pablo is definitely the Babe Ruth/Moses of these pieces.
However, tempo, cadence, clarity, consistency and emotional projection are much better here.
Starker is at least the Michael Jordan of the Bach Suites. -And compared to Pablo (I heard the Naxos one) the sound quality on this disc is The Right Hand Of God.
Starker is the dog's balls; big ones, like a Great Dane.

Full of Life.......2006-07-09

I don't know much about who's who in music. Actually, I don't know much about music. So when I decided I wanted some cello, I naturally listened to samplings by Yoyoma. Coming across my cheap computer speakers, the music was naturally flat. Then I read a review saying how Janos Starker's cd was much better. When I listened to this cd over my cheap speakers, I was amazed at the vibrance. I bought this cd and have been pleased at how much emotion comes through. It is exactly the music I had wanted when I decided I wanted cello music.

Honest approach and convincing resolution!.......2006-01-14

Janos Starker is a consummated cellist. Possibly he was not very fortunate to live just under the shadow of so many Giants of the instrument; Pau Casals, Mitislav Rostropovich, Pierre Fournier, Jean Fournier, Feurman, Janos Piatigorski, Daniel Shafran, David Soyer, Schiff, Jacqueline Dupre and Cristina Walewska, simply eclipsed the whole stage around the world with refulgent light.

Nevertheless, his approach respect these milestones pages of the cello repertoire are more than surprising. His intellectual tact does not demerit an apex a honest vision.

I recommend its acquirement keeping in mind Casals performances are sidereal and far beyond any possible comparison.

pure delight.......2004-09-10

As always, opinions vary in terms of who is the master at recording timeless pieces of music such as these Bach cello suites. Starker himself pronounced in the sleeves of this CD that this edition, the 4th recordings of these music by himself is not "technically perfect", but in many ways, his most mature interpretation. You can spend hundreds trying to find a Mercury copy of "the perfect" rendition; or you can appreciate the little imperfections of an aged artist, at the height of his humanistic understanding of music, and of life.

Average customer rating:

Sheer Brilliance
A true essential
Eh - It was alright
A wonderful addition to any Bach lovers collection
Great CD, but not worth 5 stars

Six Cello Suites performed on viola

Manufacturer: Ashmont
ProductGroup: Music
Binding: Audio CD

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A Portrait of the Viola
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ASIN: B00004W4TY
Release Date: 2000-07-06

Tracks:

Ste No.1 in G, BWV1007: Prld
Ste No.1 in G, BWV1007: Allemande
Ste No.1 in G, BWV1007: Courante
Ste No.1 in G, BWV1007: Sarabande
Ste No.1 in G, BWV1007: Menuet I & II
Ste No.1 in G, BWV1007: Gigue
Ste No.2 in d, BWV1008: Prld
Ste No.2 in d, BWV1008: Allemande
Ste No.2 in d, BWV1008: Courante
Ste No.2 in d, BWV1008: Sarabande
Ste No.2 in d, BWV1008: Menuet I & II
Ste No.2 in d, BWV1008: Gigue
Ste No.3 in C, BWV1009: Prld
Ste No.3 in C, BWV1009: Allemande
Ste No.3 in C, BWV1009: Courante
Ste No.3 in C, BWV1009: Sarabande
Ste No.3 in C, BWV1009: Bourree I & II
Ste No.3 in C, BWV1009: Gigue

Tracks:

Ste No.4 in E flat, BWV1010: Prld
Ste No.4 in E flat, BWV1010: Allemande
Ste No.4 in E flat, BWV1010: Courante
Ste No.4 in E flat, BWV1010: Sarabande
Ste No.4 in E flat, BWV1010: Bourree I & II
Ste No.4 in E flat, BWV1010: Gigue
Ste No.5 in c, BWV1011: Prld
Ste No.5 in c, BWV1011: Allemande
Ste No.5 in c, BWV1011: Courante
Ste No.5 in c, BWV1011: Sarabande
Ste No.5 in c, BWV1011: Gavotte I & II
Ste No.5 in c, BWV1011: Gigue
Ste No.6 in D, BWV1012: Prld
Ste No.6 in D, BWV1012: Allemande
Ste No.6 in D, BWV1012: Courante
Ste No.6 in D, BWV1012: Sarabande
Ste No.6 in D, BWV1012: Gavotte I & II
Ste No.6 in D, BWV1012: Gigue

Customer Reviews:

Sheer Brilliance.......2007-05-14

Wonderful, inspiring, beautiful. Music like this is why I took up the Viola. The marrying of Bach, with the skill of Patricia and the acoustics of the location make this an enthralling experience. I can not recommend this highly enough.

A true essential.......2007-05-13

This recording is an essential for every Bach lover's collection. This is a phenomenal performance that only gets better the more you listen to it. Also, as a violist myself, I notice that as I study each suite, I gain even more respect for the depth and perception which Ms. McCarty displays in her playing. Each suite has a delightful and distinct character of its own. This is a grerat recording of the suites, whether on cello or viola.

Eh - It was alright.......2005-03-20

Honestly, I thought the album was well done. As a violist, I was glad to see a solo viola performer taking on the challenge of interpreting Bach's viola suites, but really, this CD has nothing on Yo Yo Ma's version on cello. McCarthy just can't match Ma's interpretive abilities; and honestly, I've heard better viola recordings as well, though I can't remember who off of the top of my head. Still, it's a decent recording, with very nice acoustics.

A wonderful addition to any Bach lovers collection.......2004-06-28

This CD really rounds out my collection of the Bach Suites. If you love Bach you shuldn't miss the rich tones and the amazing clarity of Patricia McCarty's work.

Great CD, but not worth 5 stars.......2003-05-10

This performance of Bach's Cello Suites on Viola is respectable. However, I don't feel that the performer really takes us far enough in terms of expression. These pieces are often performed in a dry manner and no one could accuse Ms. Mcarty of that. However, there is so much musical possibility here that I have yet to hear exploited to any great degree.
It is certainly an enjoyable recording but all these five star ratings are a bit much. That being said, it may just be a matter personal preference. This is a good CD for viola students who want to hear nearly flawless technical performance.

Average customer rating:

A fitting memorial for a great artist

Bach: 6 Suites for Cello Solo

Manufacturer: Doremi Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00079W8PY
Release Date: 2005-02-15

Tracks:

I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Menuett I & II
VI. Gigue
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Menuett I & II
VI. Gigue
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Bouree I & II
VI. Gigue

Tracks:

I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Bouree I & II
VI. Gigue
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte I & II
VI. Gigue
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte I & II
VI. Gigue

Customer Reviews:

A fitting memorial for a great artist.......2005-04-08

These recordings offer a kind of music-making seldom heard today, committed, intense and vivid. There are no gaps of concentration here: every note is played with such passionate attention that the music seems to live on its own, beyond the instrument. After decades of exposure to "period" performance practice one might raise one's eyebrows at some of Miss Fuchs' choices of tempo and articulation, but the playing is so gorgeously musical that these questions are irrelevant.

The remastering is quite well done, using good but aged (monophonic) vinyl copies of these early 1950s recordings as sources, rather than the original master tapes. As a result there is some LP surface noise and a bit of turntable rumble, and the music which was at the end of an LP side is more constricted in sound and frequency range, and somewhat more distorted, than that at the outer edge, a common flaw of the LP medium. But the sound overall is quite lstenable and Miss Fuchs' unique, rich tone, faultless intonation and extraordinary facility on her huge Gaspar da Salo viola are well-reproduced.

Average customer rating:

Amazing interpretation of the Prelude from Suite No. 4
The Unique Recording of the Suites for Solo Violoncello
The knowledge of time.
Beautiful
As a baroque cello student...

Bach: 6 Suites for Cello, BWV 1007-1012

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Bach: Cello Suites

ASIN: B0000027TV
Release Date: 1993-02-09

Tracks:

Suite No. 1 In G Major, BWV 1007: I. Prelude
Suite No. 1 In G Major, BWV 1007: II. Allemande
Suite No. 1 In G Major, BWV 1007: III. Courante
Suite No. 1 In G Major, BWV 1007: IV. Sarabande
Suite No. 1 In G Major, BWV 1007: V. Menuet I/II
Suite No. 1 In G Major, BWV 1007: VI. Gigue
Suite No. 2 In D Minor, BWV 1008: I. Prelude
Suite No. 2 In D Minor, BWV 1008: II. Allemande
Suite No. 2 In D Minor, BWV 1008: III. Courante
Suite No. 2 In D Minor, BWV 1008: IV. Sarabande
Suite No. 2 In D Minor, BWV 1008: V. Menuet I/II
Suite No. 2 In D Minor, BWV 1008: VI. Gigue
Suite No. 3 In C Major, BWV 1009: I. Prelude
Suite No. 3 In C Major, BWV 1009: II. Allemande
Suite No. 3 In C Major, BWV 1009: III. Courante
Suite No. 3 In C Major, BWV 1009: IV. Sarabande
Suite No. 3 In C Major, BWV 1009: V. Bourree I/II
Suite No. 3 In C Major, BWV 1009: VI. Gigue

Tracks:

Suite No.4 in E-flat Major BWV 1010: I. Prelude
Suite No.4 in E-flat Major BWV 1010: II. Allemande
Suite No.4 in E-flat Major BWV 1010: III. Courante
Suite No.4 in E-flat Major BWV 1010: IV. Sarabande
Suite No.4 in E-flat Major BWV 1010: V. Bourree I/II
Suite No.4 in E-flat Major BWV 1010: VI. Gigue
Suite No. 5 in C minor, BWV 1001: I. Prelude
Suite No. 5 in C minor, BWV 1001: II. Allemande
Suite No. 5 in C minor, BWV 1001: III. Courante
Suite No. 5 in C minor, BWV 1001: IV. Sarabande
Suite No. 5 in C minor, BWV 1001: V. Gavotte I/II
Suite No. 5 in C minor, BWV 1001: VI. Gigue
Suite No. 6 in D major, BWV1012: I. Prelude
Suite No. 6 in D major, BWV1012: II. Allemande
Suite No. 6 in D major, BWV1012: III. Courante
Suite No. 6 in D major, BWV1012: IV. Sarabande
Suite No. 6 in D major, BWV1012: V.Gavotte I/II
Suite No. 6 in D major, BWV1012: VI. Gigue

Amazon.com

Anner Bylsma, who plays a Baroque cello in original condition, has written a whole book about the variety of bow strokes needed for this music. Fancying the use of the bow as an analogue to the use of a foil in a duel, he calls Bach a "fencing master," a term that implies intense training, physical coordination used with spontaneity, and a readiness to change the approach instantly as each successive, fast-moving challenge demands. His playing makes the music fresh and new with a flexibility and vitality that illustrates the thesis of his book. --Joe McLellan

Customer Reviews:

Amazing interpretation of the Prelude from Suite No. 4.......2007-04-17

This is my desert-island set of the Bach cello suites
and I do have a few other great recordings, among them
Yo Yo Ma and Bylsma's one-time student, Pieter Wispelwey.

Though the recording of the 1701 Servais Stradivarius
can seem a little dry with a subtle metallic ring when
strings are crossed, the tone resonates very deeply
in the lower notes giving a wonderful dark sound.

The rhythm and dynamics seem ideal and build up the
climax effectively in specific pieces like the 4th Prelude.
Bylsma plays this piece as I have never heard it--
dramatic and darkly romantic. Bravo.

And in this 4th Prelude, notice the crispness with which
Bylsma bows the double-stopped chords. Each note is rung
out distinctly as Bach would have sounded on a great
organ, creating some grand, majestic north German harmony
on an intimate instrument like the cello.

Where the notes are played arpeggio, the stress of the
low "pedal" note also comes out in the style an organist
would play them, firmly and with commitment.

Enjoy!

The Unique Recording of the Suites for Solo Violoncello.......2007-01-21

If you're interested in finding a generic, fair version of Bach's Cello Suites, I'd suggest a Yo-Yo Ma recording in one of the bargain bins at the local mall record store.

If, like me, you can hear traces of transcendence in this music, let me recommend this recording wholeheartedly.

First, he uses a very noted cello, the Stadivarius "Servais", currently housed at the Smithsonian Institute and created by Stradivari in the early 1700's. What's so unique about this cello is it's size - the booklet notes state that it's about 3cm longer than a normal cello. It is one of a precious few cellos designed in this larger style by Stradivari to survive to the present day without ever having had anyone attempt to cut it, trim it down to "normal" size, or tamper in any way with its original design.

In terms of why that's important, the answer is in the suites - deep, full, reverberant bass from this cello, which in this recording is strung with a combination of both gut and modern strings and played with a period-style bow. For Suite No. 6, Bylsma uses a 5-stringed violoncello piccolo, not the "Servais".

Bylsma is himself a leading pioneer of the historical "period instrument" school of classical music, but the sheer heart and musical inspiration he pours into these recordings makes this effort much more than a historical or mechanical exercise. What it is, really, is a unique result - exceptional talent and skill, combined with a noted instrument, and a good recording (a 20-bit production recorded at a NY college concert hall in 1992).

Bach's solo cello suites are some of the most profound music ever composed - I never tire of listening to these discs.

The knowledge of time........2005-12-07

After listening many performances of these wonderful works, played by Rostropovich, Fournier, Casals, Gendron, Maiski, Yo-Yo Ma... I've finally found the artist I think gives his best in this amazing collection of Suites: Anner Bylsma.

Bylsma represents, in my opinion, the most baroque use of the instrument and the bow you can listen nowadays, even we are living in a time in which there're many new and good cellists. His conception of the works has become much more deep and personal; baroque but in a different style. Some people think this last recordings for Sony Vivarte (DDD) is much more close to the romantic way of playing than his first recordings available (Sony, ADD). I think both are baroque in a similar style, but what we listen in the first ADD recording is a younger player who is stronger and more vivid in his way of playing. The articulation of the first recordings is closer to what the people use to think baroque is, but because of the tradition of listening very fast and fresh tempi when this music is being played on authentic instruments. The sound of the cello could be another reason too, in the sense this one in the DDD recording (6th Suite uses a piccolo cello) is a little bigger and with a more deep and expansive sound, more powerful and more romantic in some way, but never in the style Bylsma plays, which I find very appropriate of a certain age, when knowledge comes to you after years of exploring these works (just remember how long Mstislav Rostropovich waited for recording the work for EMI). Anyway, even Bylsma plays in a cello much more similar to those used by Rostropovich, for example, it's impossible to mistake them playing, because of the very different style, the way he uses the bow, the sense of the phrases, the accentuation... This last recording form 1992 is the climax of a man and his knowledge about a music, in a moment in which he could still make it clear and well done. I really think that the tempi are a choice Bylsma took, and not the physical limitation of a mature player. The first recording in which I find Bylsma not so fresh like in his previous performances is in his recordings of Suites 1 & 5 for EuroArts (in a wonderful DVD with more Bach and Kurtág); but this 1992 versions I think that are the results of a long journey of researching, thinking and feeling the Cello Suites, one of the key works in the history of western music.

The use of a little cello for Suite No.6 makes this last piece much more light and fresh, very interesting for finishing a travel in which Suite No.5 is so dark and full of sorrows. It's a pleasure to finish in this way, something Bylsma uses to do, like he made in his ADD recording.

A wonderful recording, which I have together with his ADD recording (Sony too) and which are my favourites. After listening this performances many years I can't really listen any "modern or romantic" version without the sensation of something is wrong.

Beautiful.......2005-04-26

This is such beautiful music that it's probably worth the price!

The Prelude to Suite No. 1 in G Major was played in the movie, "Master and Commander" by the doctor on the ship (it's actually Yo-Yo Ma playing the piece). I don't know anything about Anner Bylsma, but I definitely respect her for recording these tracks.

I have no doubt that you'll like this CD. We've even been able to use it wonderfully for background music as it doesn't distract as much as playing a recording of a full orchestra would.

As a baroque cello student..........2004-10-29

As a student of baroque cello, studying under one of Bylsma's own students, I find these recordings inspiring. They are always fresh and interesting, with new information to be found. His version here is simply one of the many ways of playing the pieces, and I think that, compared with the Rostropovich, Casals, and Ma recordings (which I also own), his is the only one that shows their flexibility. Using a baroque bow and tuning down to A=415 helps, of course, as does using gut strings and studying the patterns of baroque dance.

I met Mr Bylsma recently at a masterclass at my conservatory, and I found him intelligent, insightful, and passionate. These recordings show those exact qualities.

I love the tone of both instruments, and I love the way he makes the pieces speak, perhaps even with the same rhetorical ideas that J.S. Bach himself would have been considering. Rhetoric was a huge part of composition in the 17th and 18th centuries; none of the "modern" recordings, done on "normal" cellos, do this relationship quite as much justice as Mr Bylsma.

Average customer rating:

Gendron's Version of the Bach Cello Suites
interesting, relaxing
Superb beauty of tone
THE CELLO COMES OF AGE
Peerless - for 30 years

Bach: The 6 Cello Suites

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Maurice Gendron Plays Tchaikovsky & Schumann
Beethoven: The Cello Sonatas

ASIN: B00000419C
Release Date: 1994-08-16

Tracks:

Suite No. 1 In G, BWV 1007: Prelude
Suite No. 1 In G, BWV 1007: Allemande
Suite No. 1 In G, BWV 1007: Courante
Suite No. 1 In G, BWV 1007: Sarabande
Suite No. 1 In G, BWV 1007: Menuets I-II
Gigue
Suite No. 4 In E Flat, BWV 1010: Prelude
Suite No. 4 In E Flat, BWV 1010: Allemande
Suite No. 4 In E Flat, BWV 1010: Courante
Suite No. 4 In E Flat, BWV 1010: Sarabande
Suite No. 4 In E Flat, BWV 1010: Bourrees I-II
Suite No. 4 In E Flat, BWV 1010: Gigue
Suite No. 6 In D, BWV 1012: Prelude
Suite No. 6 In D, BWV 1012: Allemande
Suite No. 6 In D, BWV 1012: Courante
Suite No. 6 In D, BWV 1012: Sarabande
Suite No. 6 In D, BWV 1012: Gavottes I-II
Suite No. 6 In D, BWV 1012: Gigue

Tracks:

Suite No. 2 In D Minor, BWV 1008: Prelude
Suite No. 2 In D Minor, BWV 1008: Allemande
Suite No. 2 In D Minor, BWV 1008: Courante
Suite No. 2 In D Minor, BWV 1008: Sarabande
Suite No. 2 In D Minor, BWV 1008: Menuets I-II
Suite No. 2 In D Minor, BWV 1008: Gigue
Suite No. 3 In C, BWV 1009: Prelude
Suite No. 3 In C, BWV 1009: Allemande
Suite No. 3 In C, BWV 1009: Courante
Suite No. 3 In C, BWV 1009: Sarabande
Suite No. 3 In C, BWV 1009: Bourrees I-II
Gigue
Suite No. 5 In C Minor, BWV 1011: Prelude
Suite No. 5 In C Minor, BWV 1011: Allemande
Suite No. 5 In C Minor, BWV 1011: Courante
Suite No. 5 In C Minor, BWV 1011: Sarabande
Suite No. 5 In C Minor, BWV 1011: Gavottes I-II
Suite No. 5 In C Minor, BWV 1011: Gigue

Customer Reviews:

Gendron's Version of the Bach Cello Suites.......2007-01-15

I found Gendron's playing superb but somewhat idiomatic. If one were to be limited to just one version of the Six Suites for Cello, this would not be it but, as a contrasting version it is quite interesting. Please understand that I am not a cellist but I do play the Six Suites on the horn in the Hoss arrangements for horn in F and horn in E.

interesting, relaxing.......2006-02-25

The first time I listened to this album, I listened to both cds in one sitting. Though the music is for one cello, it seems as though 2 or more are playing concurrently at times, because of the speed of the playing and the wide variations of pitch ocurring within a short period of time. I recommend Bach: Cello Suites to any music lover because The Cello Suites are the type of music that can get anyone interested in classical music. Their catchy melodies can appeal to anyone, especially Suite No. 1.

Superb beauty of tone.......2005-12-04

Bach's Cello Suites are one category with no shortage of legendary performances; but this same reality makes it quite difficult to select "the best" or even your favorite. We have fine recordings from Fournier, Bylsma, Wispelway, Rostropovich, Ma, Starker, Harrell, Gendron and the historic work of Casals that brought these daunting works to modern light. Many consider Fournier's works as the most "tonally luxurious and illuminating" while Rostropovich and Starker bring a more direct, powerful and probing depth to this music. The ever-popular Yo Yo Ma has several recordings of varying style and intent on Sony that are worth exploring. Each musician here is top-notch and brings various nuances of style to the music that will appeal to different ears.

Out of these, the recording that most appealed to me was Maurice Genron's sweetly-toned and smooth performances on Phillips DUO label here. Three things stood out in this set: the absolutely beautiful, clear, vivid and optimally resonant sound quality ... the lovely yet revealing playing of Gendron ... and the great value of the DUO label. While some feel that Gendron may not "plumb the vast emotional depths" of Bach's masterpieces here as deeply or provocatively as others (namely Rostro, Starker), what Gendron does bring is a most attractive and lucid style, a superb artistry, a gorgeoous tone quality and a warm, lyrical emphasis in his progression through the works. The timbre of his cello is absolutely gorgeous and is captured most vividly. As a result, many should find it easier to listen to an entire CD of this music because of Gendron's emphasis on a beautiful tonal quality and smoothness in expression (which can also be said probably of Fournier). Its a matter of what you like. I can see where other performer's deeper, often darker-tones and greater rhythmic attack would be appealing and energizing.

While Gramophone curiously does not even list Gendron's recording amoung the several others, Penguin Guide gives it a top 3/3 star rating (and also gives most of the others mentioned the same - again, showing the abundance of fine recordings available). Perhaps they summarize Gendron's playing the best: "No artist holds all the secrets in the repertoire, but few succeed in producing such consistent beauty of tone as Maurice Gendron, with the digital remastering firming up an excellent and truthful analogue recording. His phrasing is unfailing musical, and these readings with their restraint and fine judgment command admiration." Agreed - five stars.

Additionally, Gendron made an equistite recording of Beethoven's Variations for Cello and Piano (on Philips DUO with Rostropovich/Richter performing the famous sonatas) which are equally appealing for the similar reasons.

THE CELLO COMES OF AGE.......2005-03-21

The cello is not my own instrument, so I am in the business of owning one or two good versions of the Bach suites, not the entire selection on offer. After reading a good deal of comment from those who know, or purport to know, the field more thoroughly, I'm forming the impression that whether by luck or by instinct the versions I have are as good as, and maybe better than, any others. The judgment of my own ears suggests that this is likely anyway. What counts as particularly good and recommendable for me is what I shall try to explain.

My LP version for many years has been from Fournier - relaxed, urbane and thoughtful. I have seen his accounts characterised as being `romantic', and while he deploys a fair amount of expressive rhythmic inflexion I would not go quite so far in my own description. Bach's lyric gift was as romantic as Brahms's at times, but the cello suites do not show that side of him to any great extent, and no interpreter, however eminent, should try to express what is not really there. What the cello suites do contain is on the one hand pure abstract musical pattern-weaving in their preludes, and for the rest dance-music albeit of great beauty and dignity. It would be an outrage to treat these masterpieces roughly, but on the other hand there is a strong no-nonsense streak in Bach's personality and I take very favourably to the way Gendron suggests this. The very first prelude shows this characteristic right away (to ears attuned to Fournier), and in general Gendron is disposed to take the fast or fastish dance-pieces, (all except the sarabandes), a tad faster and the sarabandes on the other hand a trifle slower. This has an `authentic' ring to me. We do not know a lot about the composer other than his actual music, but there seems to be a fairly credible tradition that he had a predilection for brisk speeds. One way or the other, Gendron's way of going about these suites has a liveliness and vigour that appeals to me strongly.

Another factor that counts enormously in this set's favour is the simply brilliant recorded quality - resonant, roomy, rich and as if the player were right there in one's presence. This would have been wasted on indifferent sound from the soloist, but no danger of that from Gendron. His tone is heavenly and it gets the recording it deserves and demands.

What a pleasure it is to be able to report a first-class liner-note for once. I refer to the English liner-note. In the finest EU mode there is a note in English, in German, in French and in Italian - but they are all different notes by different authors! The English offering, by Derek Jole, is well-written and informative, saving me the trouble of labouring through any of the others. He takes us through the early history of the cello, and it's worth giving a thumbnail summary of that here. The `serious' low string instrument in Bach's time had been the viola da gamba, but its lack of power and volume was becoming a problem, and various strange contraptions strutted their 15 minutes on the stage before taking a voyage down the waters of Lethe. The cello was already around but mainly as a dull continuo instrument left to duffers and amateurs. The stars were favourable, and Bach made the acquaintance of Christian Linike, was persuaded to write one or two suites, was encouraged by the result in performance, and went on to compose all six, getting more adventurous as he went along. Bach did not of course lose his innate conservatism, and except for the sixth suite the cello is confined to its lower registers, a treatment later replicated in the first cello sonata of Brahms (this point being predictably and comprehensively lost on Mr Peter Latham in his transcendentally unperceptive book on that composer). In #6 we hear a trace of one of the vanished oddities, a 5-stringed `cello piccolo'.

The six suites are all to a common 6-movement format, a prelude followed by 5 dance numbers, always in the same sequence. The only variation is in the fifth movement, which is variously minuet, bourree or gavotte. A pleasant touch of imagination has been shown in the production by putting one example of each type on to each disc rather than following the numerical order. Composer and interpreter supply a certain amount more of that commodity in addition. These suites are great art, this is a great rendition in my view, and however strong the rest of the field is I suggest that this version should be a serious contender in anyone's selection.

Peerless - for 30 years.......2004-08-20

I feel qualified to write a review of Gendron's Bach Suites, having won the International Bach Competition in 1985 in Washington, DC, for the very same pieces.
Gendron is the standard by which all others are judged. Structure, voicing, integrity and tone quality have never been matched in such a combination by anyone - ever. Gendron let the music shine through, never letting his personality interfere with Bach's perfection.

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