Bach: 6 Cello-Suiten

Editorial Reviews
Amazon.com
There are many ways of playing Bach--the austere and the mathematical or the deliberately simple have dominated in recent years--in an attempt to recapture the style of the unknown soloist for whom he wrote these peculiarly beautiful works. Mischa Maisky's second recording, based on years of study of the scores, opts for a more passionate, almost Romantic approach--this is a Bach all about expression and dance, and the gestures here are big gestures. Maisky's commitment to his reading is absolute and carries real conviction--he plays the suites as the work of a musician of incomparable gifts, not a machine or a demigod. Even those who prefer a more intellectualized Bach will have to accept his earthy approach as a possible reading. Maisky's edition of the suites is included on a CD-ROM along with articles on artist, composer, and works and a facility that allows the listener to follow the scores as they are played, or even to play along with them. --Roz Kaveney

Tracks:

Suite No. 1 In G Major BWV 1007: Prelude
Suite No. 1 In G Major BWV 1007: Allemande
Suite No. 1 In G Major BWV 1007: Courante
Suite No. 1 In G Major BWV 1007: Sarabande
Suite No. 1 In G Major BWV 1007: Menuet 1 - 2
Suite No. 1 In G Major BWV 1007: Gigue
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: Menuet 1 - 2
Suite No 2 In D Minor BWV 1008: Gigue
Suite No. 3 In C Major BWV 1009: Prelude
Suite No. 3 In C Major BWV 1009: Allemande
Suite No. 3 In C Major BWV 1009: Courante
Suite No. 3 In C Major BWV 1009: Sarabande
Suite No. 3 In C Major BWV 1009: Bourree 1 - 2
Suite No. 3 In C Major BWV 1009: Gigue

Tracks:

Suiten No. 4 Es-dur Bmv 1010: 1. Prelude
Suiten No. 4 Es-dur Bmv 1010: 2. Allemande
Suiten No. 4 Es-dur Bmv 1010: 3. Courante
Suiten No. 4 Es-dur Bmv 1010: 4. Sarabande
Suiten No. 4 Es-dur Bmv 1010: 5. Bourree 1 - 2
Suiten No. 4 Es-dur Bmv 1010: 6. Gigue
Suite No. 5 c-moll Bmv 1011: 1. Prelude
Suite No. 5 c-moll Bmv 1011: 2. Allemande
Suite No. 5 c-moll Bmv 1011: 3. Courante
Suite No. 5 c-moll Bmv 1011: 4. Sarabande
Suite No. 5 c-moll Bmv 1011: 5. Gavotte 1 - 2
Suite No. 5 c-moll Bmv 1011: 6. Gigue
Suite No. 6 D-dur Bmv 1012: 1. Prelude
Suite No. 6 D-dur Bmv 1012: 2. Allemande
Suite No. 6 D-dur Bmv 1012: 3. Courante
Suite No. 6 D-dur Bmv 1012: 4. Sarabande
Suite No. 6 D-dur Bmv 1012: 5. Gavotte 1 - 2
Suite No. 6 D-dur Bmv 1012: 6. Gigue

Amazon.com

Elegance is the quality in Pierre Fournier's playing that makes the first and, ultimately, the most lasting impression. He finds great depth in the suites, but he shows constant awareness that he is playing mostly dance music (usually, and importantly, French dance music), that joy is its most important underlying emotion and that graceful movement and rhythmic fluency are essential. --Joe McLellan

Customer Reviews:

Fournier Cello Suites.......2007-01-25

I love the way Fournier played. I had recordings of other pieces played by him, but hadn't thought to listen to the Bach Suites. I'm glad I ordered this product!

Sublime.......2006-12-17

There aren't words to describe how beautiful these recordings are. The virtuosity of Fournier coupled with the majesty of Bach's suites are transformative and not to missed.

Definitive performances!.......2006-11-07

The captivating sound, enriched lyricism and profound musicality of Pierre Fournier was always his quotidian landmark. All of us who have his famous Beethoven piano trios with Kempff and Szerying have realized his profound commitment and passion for the instrument.

And the whole result of these definitive Suites for cello could not be more fortunate. If I was required for the one hundred best performances of the XX Century, this recording should be included in most of lists.

A legendary album that for any reason must absent of your valued personal collection.

Unparallelled Bach.......2006-10-10

Fournier uses a rare circa-1722 Venetian Matteo Goffriler Cello for these recordings; hence their distinctive timbre which is without parallel in the Bach solo cello suites discography. Fournier's choice of instrument is vital in that Bach wrote these pieces between 1717 and 1723, while Kappelmeister in Kothen. This instrument, combined with Fournier's tasteful period-influenced lack of excessive vibrato may be the reason behind some of the less-than-positive reactions here. Incidentally, that Fournier's performance is still the benchmarck for the repertory is evidenced by the fact that the original LPs featuring 2 suites apiece easily sell for a good deal more than the entire CD set as priced here. For those who prefer ahistorical histrionics, by all means go with Yo Yo. For those who would actually like to have a distinct notion of how these pieces must have sounded to Bach's contemporaries, I suggest the great Fournier.

Lifeless.......2006-07-13

There are far too many excuses made for interpretations of classical music in general but particularly for the music of J.S. Bach. The cello suites are perhaps the best work of Bach's to illustrate this as this incredibly over-rated recording does. What makes this music timeless is not that it is beautiful without any expression on the part of the performer or that it contains some dry charm that suggests a "refined" and "intellectual" approach. That the music itself contains little in the way of expression marks should not tell the performer to play without any interpretation, feeling, nuance, insight, or most importantly the quality of expanse. Calling a performance of Bach's music refined, elegant, or understated should be an insult not a compliment. The music is already elegant, refined, and understated thus implying the performer has imparted nothing. The performer's job is not to perform the music exactly as it is written, the performer does not work for the composer nor would the composer wish this. If performing a piece of music is as easy as playing what is on the page then just leave it to computers as they can play soullessly and exactly as the sheet appears. Period performance of Bach's music is even worse than this as we are forced to listen to horrible tone, dreadful intonation, and lifeless performances that need far too many excuses made for them. I'm sorry but performances as revered as this recording need so much more to be considered a standard/definitive interpretation. Adding a tiny rubato at the top and bottom of phrases and playing straight through the rest of the notes is not interpretation. Understatement can have a wonderful effect in performance, there is however a difference between understatement and playing flat. This recording features mechanical playing, lackluster interpretation, and disgustingly shrill tone. Music does not exist so we can play it the way we think it was once performed centuries ago or as it appears on the sheet. Music like this is bound by the means we have of showing it to others in a notational language. This music is not timeless because of some dry charm or elegance, it is timeless because of what it can suggest to the performer as it has to Pablo Casals, Rostropovich, Yo Yo Ma, Mischa Maisky, and most recently Matt Haimovitz. Ask Peter Philips of the Tallis Scholars and he will tell you the same thing. Rather than focus on what so called "scholars" have determined is the proper way for a composer's music to sound, the performer should instead focus on creating wonderful music, "period practice" be damned, using their own judgement and hopefully well-trained ear to determine their performance. Their is just so much more to be had in the performances mentioned above that this recording really needs to be forgotten.

Average customer rating:

Bach: 6 Cello-Suiten, BWV 1007-1012

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000001G7Q
Release Date: 1990-10-25

Average customer rating:

The Marrow of Life in Sound
an absolute classic
The father of music!
So Sweet, Resonant One Can Taste the Varnish of Stradivarius
You can not miss it if you are a cello lover.

Bach: Cello Suiten

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Bach: Three Sonatas & Three Partitas For Violin Solo
Bach - Cello Suites / Rostropovich
Martha Argerich Plays Chopin: The Legendary 1965 Recording
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra

ASIN: B000002S8E
Release Date: 1997-09-16

Tracks:

Suite No.1 In G: I. Prelude (Moderato)
Suite No.1 In G: II. Allemande (Molto moderato)
Suite No.1 In G: III. Courante (Allegro non troppo)
Suite No.1 In G: IV. Sarabande (Lento)
Suite No.1 In G: V. Menuetto I & II (Allegro moderato)
Suite No.1 In G: VI. Gigue (Vivace)
Suite No.2 In D Minor: I. Praeludium
Suite No.2 In D Minor: II. Allemande
Suite No.2 In D Minor: III. Courante
Suite No.2 In D Minor: IV. Sarabande
Suite No.2 In D Minor: V. Menuetto I & II
Suite No.2 In D Minor: VI. Gigue
Suite No.3 In C: I. Praeludium
Suite No.3 In C: II. Allemande
Suite No.3 In C: III. Courante
Suite No.3 In C: IV. Sarabande
Suite No.3 In C: V. Bourrie I & II
Suite No.3 In C: VI. Gigue

Tracks:

Suite No.4 In E Flat: I. Prelude (Allegro maestoso)
Suite No.4 In E Flat: II. Allemande (Allegro moderato)
Suite No.4 In E Flat: III. Courante (Allegro non troppo)
Suite No.4 In E Flat: IV. Sarabande (Lento)
Suite No.4 In E Flat: V. Bouree I & II
Suite No.4 In E Flat: VI. Gigue (Vivace)
Suite No. 5 in C minor: I. Prelude (Adagio - Allegro moderato)
Suite No. 5 in C minor: II. Allemande (Allegro moderato)
Suite No. 5 in C minor: III. Courante (Allegro non troppo)
Suite No. 5 in C minor: IV. Sarabande (Lento)
Suite No. 5 in C minor: V. Gavotte I & II
Suite No. 5 in C minor: VI. Gigue (Allegretto)
Suite No. 6 in D: I. Prelude (Allegro moderato)
Suite No. 6 in D: II. Allemande (Quasi adagio)
Suite No. 6 in D: III. Courante (Allegro non troppo)
Suite No. 6 in D: IV. Sarabande (Lento)
Suite No. 6 in D: V. Gavotte I & II (Allegro moderato)
Suite No. 6 in D: VI. Gigue (Vivace)

Amazon.com essential recording

Casals crusaded for this music. When he first picked up a used copy of the score in a music store, Bach was not very popular with general audiences, and the cello suites were never played in public. If cellists knew them at all, they used them as finger exercises. After two decades of study, Casals finally gave his first public performances of the suites. For all we know, they may have been the world premieres. Casals thoroughly mastered the music, and by the time he made his recordings, in the 1930s, he gave mature, adept, and loving performances. If his style seems a bit on the romantic side for our 1990s conception of Bach, it is never offensively so. Every music lover should hear this set, with recorded sound that holds up remarkably well. At the same time, we can now realize that Casals sometimes works too hard to make a point, probably knowing that most of his listeners had never heard the music before. So we should also hear more recent recordings of these suites (especially Starker's on RCA) for a more inward, subtle version of the music, which is too great to be fully realized in any one performance. --Leslie Gerber

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!

an absolute classic.......2006-08-06

although these recordings are mono, the playing is just superb. an absolute classic.

The father of music!.......2002-05-10

This is the best performance somebody can find. It's played by the greatest musician, mtro. Pau Casals. It is necessary you hear it, then you'll cry because of the excitment. Besides, the sound is quite acceptable, you even hear Casals' voice when he is too excited. These suites were recorded in the 30's, and nobody has improved them. So buy it soon, and have an amazing experience. I finish by saying what the violinist Isaac Stren said once about Casals: "He is the father of all of us".

So Sweet, Resonant One Can Taste the Varnish of Stradivarius.......2001-06-20

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! i.e., Beyond Descriptive Language of Words

You can not miss it if you are a cello lover........2001-02-08

If you are just want to buy some CD for casual listening, or you do care the sound, choose DG's Fournier set (mid-price) or EMI's set. However, Casals' performance is a historical milestone and reflects his serious and in-depth interpretation for Bach's works. For lover of cello or Bach, it is worth keeping.

Average customer rating:

VER vs VER
Woah....
Worst Version Available!
The way it should be....
Great, artistic achievement

Bach: 6 Cello-Suiten
Mischa Maisky
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Schumann: Cello Concerto

ASIN: B00003ZA6D
Release Date: 2000-04-11

Tracks:

Suite No. 1 In G Major, BWV 1007: Prelude
Suite No. 1 In G Major, BWV 1007: Allemande
Suite No. 1 In G Major, BWV 1007: Courante
Suite No. 1 In G Major, BWV 1007: Sarabande
Suite No. 1 In G Major, BWV 1007: Menuet I And II
Suite No. 1 In G Major, BWV 1007: Gigue
Suite No. 2 In D Minor, BWV 1008: Prelude
Suite No. 2 In D Minor, BWV 1008: Allemande
Courante
Suite No. 2 In D Minor, BWV 1008: Sarabande
Suite No. 2 In D Minor, BWV 1008: Menuet I And II
Suite No. 2 In D Minor, BWV 1008: Gigue
Suite No. 6 In D Major, BWV 1012: Prelude
Suite No. 6 In D Major, BWV 1012: Allemande
Suite No. 6 In D Major, BWV 1012: Courante
Suite No. 6 In D Major, BWV 1012: Sarabande
Suite No. 6 In D Major, BWV 1012: Gavotte I And II
Suite No. 6 In D Major, BWV 1012: Gigue

Tracks:

Suite No. 3 In C Major, BWV 1009: Prelude
Suite No. 3 In C Major, BWV 1009: Allemande
Suite No. 3 In C Major, BWV 1009: Courante
Suite No. 3 In C Major, BWV 1009: Sarabande
Suite No. 3 In C Major, BWV 1009: Bourree I And II
Suite No. 3 In C Major, BWV 1009: Gigue
Suite No. 4 In E Flat Major, BWV 1010: Prelude
Suite No. 4 In E Flat Major, BWV 1010: Allemande
Suite No. 4 In E Flat Major, BWV 1010: Courante
Suite No. 4 In E Flat Major, BWV 1010: Sarabande
Suite No. 4 In E Flat Major, BWV 1010: Bourree I And II
Suite No. 4 In E Flat Major, BWV 1010: 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: Gavotte I And II
Suite No. 5 In C Minor, BWV 1011: Gigue

Amazon.com

There are many ways of playing Bach--the austere and the mathematical or the deliberately simple have dominated in recent years--in an attempt to recapture the style of the unknown soloist for whom he wrote these peculiarly beautiful works. Mischa Maisky's second recording, based on years of study of the scores, opts for a more passionate, almost Romantic approach--this is a Bach all about expression and dance, and the gestures here are big gestures. Maisky's commitment to his reading is absolute and carries real conviction--he plays the suites as the work of a musician of incomparable gifts, not a machine or a demigod. Even those who prefer a more intellectualized Bach will have to accept his earthy approach as a possible reading. Maisky's edition of the suites is included on a CD-ROM along with articles on artist, composer, and works and a facility that allows the listener to follow the scores as they are played, or even to play along with them. --Roz Kaveney

Customer Reviews:

VER vs VER.......2003-09-27

I think there might be some confusion betwixt these reviews.
To those who do not know... there are 2 versions of this recording.

The original circa 1985ish is more romantic and at the same time more standard a rendition. It is a younger Mischa eager to please. Its the up and coming Mischa paying careful attention to correctness of form, yet imbuing the work with as much emotion as he can muster without breaking the propriety barrier.

This newer version strikes me as that of a gilded primadona Mischa. To hell with convention... This version verges on jazzy. (the metronome has been relegated to the waste-basket)

BUT HEY !!!
That may be exactly what you are looking for.

It may seem that I am partial to the original recording but actually they both have their strengths. The newer version appears to be more closely miked as well (more pronounced fret noise / slightly sharper harmonics).

New version: An exercise in self expression. "I love performance art"

Old version: A meticulously crafted rendition. "All mimes should be shot on sight!"

Woah...........2002-04-11

This is, without a doubt, the most bizarre version of the Bach Cello Suites I have ever heard. It is ultra-romanticized, with thick vibrato and tempi choices I've never heard before.

But, it's really, really, really good. Not my favorite, that (ironically) goes to this CD's antithesis, the Pierre Fournier version.

But there's an interesting point to be made, in that both of these versions are amazing and equally valid. We don't know what Bach would have wanted the pieces to sound like - maybe if he had access to modern instruments he'd want romantic, maybe not.

Either way, this set is well-performed, beautiful, and dance-like. Give it a shot

Worst Version Available!.......2002-03-05

After absolutely being enchanted by the Maisky/Argerich version of the Back cello (gamba) sonatas, I had high hopes for these new recordings. Not only are the tempos a disaster ( the prelude No 1 is especially hideous) but Maisky even insists upon ending each movement with his own little trill. All in the name of "romantic recording". The tempos sound contrived at best. With the exception of the Prelude to the D Minor, which is glorious, the best hopes for this CD are use as a frisbee. Save your money!

The way it should be...........2001-04-01

Bach wrote for God, not for Early Music fanatics, who invent a rhythm neither godly nor manly for their music: people cannot count in even time when emotions run raw, as a matter of science (try it yourself).

Maisky understands that and plays these suites with the freedom of a singer, giving us the performance this exquisite music deserves.

Bravo, Maisky!

Reader, enjoy@

Great, artistic achievement.......2000-09-28

Many people have accused the Maisky interpretation of the Bach Unaccompanied Cello Suites as "romanticized." I have just two words for Maisky's critics: "So What?"

What truly matters is that Mischa Maisky is the most energetic and most original devotee of Bach. His version of the Bach Cello Suites is not only the best in the market today, but more importantly, demonstrates that music should be played by an artist, not for the sake of accuracy, but for the purpose of art and its resulting empathy which infuses the audience.

The Bach Cello Suites have never been played with such virtuosity. The flourishing vibrato and climaxes of the D minor Prelude, the joyous, celebratory exultations of the D major Gavotte and Gigue, and the haunting intonations of the C minor Sarabande, demonstrates that Mr. Maisky expresses and translates his own subjective, emotional candor in a very objective and skillful interpretation of the Bach Suites.

The Maisky interpretation does not fulfill the ascetic, baroque qualities of Bach, such as in the superb recordings of Yo-Yo Ma. Yet, it completely transcends Bach to a more modern and ethereal focus. Only a handful of Bach devotees have attempted to do this and still be able to maintain the spirit of Bach. These artists would include names such as, Glenn Gould, Arthur Grumiaux, Mstislav Rostropovich, Oscar Shumsky, and now, with his splendid interpretation, Mischa Maisky.

The criticism inflicted upon Mr. Maisky is probably as a result of the first impressions made with his expeditious rendition of the G major Prelude. At first, this unorthodox rendition threw me off as well, yet I became captivated with this approach, because of the enigmatic energy it exudes the more the listener accepts its uninhibited artistry.

Conductor Daniel Barenboim once said that musicians must have a "child-like" quality in their music. He stated this remark because music, in its essence, is an expression of unadulterated, spiritual creativity that musicians must express as if they are playing it for the first time, as a transcendent revelation. Maisky's interpretation, without a question, follows this philosophy and fills the void that has been lacking in Bach since the Rostropovich interpretation of the suites, seven years ago. Thus, it is not unfair to label Mischa Maisky's recording as "child-like," whereas his critics, and their criticism of his interpretation as romanticized, can be called "childish."

Bach: Sechs Suiten für Violoncello solo
Average customer rating:
Bach: Sechs Suiten für Violoncello solo
Juergen Happe
Manufacturer: Classic Concert Records / Balcon Records
ProductGroup: Music
Binding: Audio CD

All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Cello | Strings | Instruments | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
ASIN: B000B2WJZ6
Release Date: 2005-08-23

Tracks:

Prélude
Allemande
Courante
Sarabande
Menuet I & II
Gigue
Prélude
Allemande
Courante
Sarabande
Menuet I & II
Gigue
Prélude
Allemande
Courante
Sarabande
Bourrée I & II
Gigue
Prélude
Allemande
Courante
Sarabande
Bourrée I & II
Gigue
Prélude
Allemande
Courante
Sarabande
Gavotte I & II
Gigue
Prélude
Allemande
Courante
Sarabande
Gavotte I & II
Gigue

Product Description

Juergen Happe plays Six Suites for Violoncello BWV 1007-1012 arranged for classical guitar

Bach: Suiten Für Violoncello (Suites (6) For Solo Cello)

Average customer rating:

Bach: Suiten Für Violoncello (Suites (6) For Solo Cello)

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000005W59
Release Date: 1997-10-14

Amazon.com

Principal cellist of the Dresden Staatskapelle, Peter Bruns plays a 1730 vintage Tononi that once belonged to Casals. In some respects, Bruns's rhythmic freedom and expressive fervor mirror Casals's "play Bach like Brahms" mindset. He also gives Casals's vocal grunts and grimaces a run for their money. Every so often Bruns's astounding facility gets the better of him, especially in introspective movements where his agogic tinkerings rupture continuity, and also in protruding accents elsewhere. Still, the playing is never less than interesting, and gorgeously recorded too. --Jed Distler