In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.
Experience, virtuosity and individuality are all required when tackling J.S. Bach’s popular cello suites; Richard Tunnicliffe brings a lifetime of insight to his debut solo recording. Richard has made a special study of Bach's cello suites and his performances of all six have been acclaimed in Europe and Australia as well as at numerous venues in Great Britain, including Wigmore Hall and the Purcell Room in London.
OK, are you ready for something completely different? From someone who has already recorded two complete sets of Bach's six suites for solo cello, BWV 1007-1012, no less? Where to begin? Dutch historical-performance specialist Pieter Wispelwey disregards the long performance tradition associated with these six suites, which seem like cousins to Bach's sonatas and partitas for solo violin but are actually quite different in character (there are no sonatas, for one thing). Even players of the Baroque cello sometimes seem to have Pablo Casals' magisterial recordings in their heads, but Casals is not in the building at all for these readings. They seem to rest on three principles.
GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.
Performing regularly throughout the world as a soloist, chamber musician, recording artist and teacher, British cellist Colin Carr is a frequent guest at the world’s leading concert halls and festivals. He counts Maurice Gendron and William Pleeth amongst his teachers. In May 2012 he retruned to Wigmore Hall to record Bach’s cello suites, true masterworks regarded as the pinnacle of the repertoire for the instrument. Demonstrating his great technical prowess and mastery, Carr searched deep beneath the richly detailed surface of the six suites and explored their inner workings with great style. His meditative performance and profoundly personal communion with the works of Bach are captured within this recording.
Jean Louis Duport was one of the most important and influential composers for the cello in the first half of the 19th century. A virtuoso himself, he wrote a treatise on the cello, introducing new techniques, expanding the possibilities of the instrument to a great extent. As a demonstration of his new instrumental style he wrote 21 Etudes, in which all his inventions are incorporated. They are extremely difficult, requiring a virtuoso technique and deep musical insight, lifting the etude above the level of a mere exercise to a work of art. This recording, a world premiere, uses a second cello as a continuo basis, and is played with gut strings, as was usual in Duport's time. A must for cellists, cello lovers and anyone interested in early 19th century French instrumental music.
Over the past 40 years Philippe Herreweghe has been working with some extraordinary soloists with whom he has had very fertile and stimulating dialogues, both musically and personally. Philippe Herreweghe: "It seems important to give these musicians the opportunity to express themselves on the label PHI in works they are particularly fond of." This is the case of the present recording. Christine Busch, leader of the orchestra of Collegium Vocale Gent, recorded the Sonatas & Partitas for solo violin by J. S. Bach - a work she admires, and she has been playing since her childhood. Philippe Herreweghe: "Christine Busch inspires by her technical perfection, her strength, her humility, her sense for poetry, as well as by her qualities needed to serve the greatest of all composer".
"Bach is immortal," writes Isang Enders in the foreword to his new CD of the six Suites for solo cello. "They say that Bach is the beginning and the end of all things, immortal, incomprehensible and even holy." Given this enormous challenge, no musician can be blamed for being plagued by doubts when approaching works of such calibre. And yet: "Bach's music is so human and thus always contemporary and pure. The suites should speak, they should sing and dance, hunt and contemplate – altogether subjectively and characteristically, now that I have overcome my doubts. The subjective aspect of this recording is the result of my firm conviction." These are the words of a young cellist, a high‐flyer, who led the cello section at the Dresden Staatskapelle when he was only twenty, then gave it up for a solo career. That is really all we need say; it is what marks out the Bach playing of Isang Enders from all the competing interpretations. Youthful vigour, consummate technique and a deep understanding of the works make for a perfect combination of head, heart and soul.