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.
"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.
“Rostropovich's performances are masterly and all-involving, drawing distinctions between each work in his spoken introductions, although one can choose to hear the music without the commentaries. Unsurpassed and unsurpassable.” (The Penguin Guide)
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.
C.P.E. Bach would undoubtedly rejoice, were he alive, upon hearing this album of his cello concertos by Truls Mørk and Les Violons du Roy under the direction of Bernard Labadie. From the opening notes, one cannot help but feel the orchestra is fantastic. The A major Cello Concerto begins with vigor and liveliness, with the ensemble playing perfectly together in tempo with great spirit. Mørk plays just as well, with a clean, accurate, and somewhat light touch.
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.