Customer Reviews

Bach: Cello Suites Nos. 1-6

5 star:		(32)
4 star:		(1)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

I am an ameteur cellist and do not easily criticize the efforts of the many truely great and talented masters of the instrument who have undertaken the challenge of the Bach Cello Suites.

To me, the Suites are virtually a world unto themselves within the broad range of music for the instrument. The act of performing the Suites seems to be a defining moment for the cellist, with the example set by Casals earlier in the century.

The unusual balance of austerity and warmth, grace and power, and lyricism without leading into sentimentality make this a unique contribution to the discography of this work. If you are to experience only one perfomance of the Suites, this is the one.

There is no question that every student of the cello should listen at some point to the Casals performance of the suites. The recording by Turovsky is especially animated but tends to carry more raw energy and power than seems best suited for this piece. The Yo Yo Ma recording is my second choice, as it seems to tend slightly to far toward the lyrical and often offers too much finess where more energy and power would better serve the music. Lynn Harrell's recording is technically excellent, but perhaps lacks the benefit of Slava's breadth of experience and heart (he is still less than 60 years old). Pierre Fournier's performance is an interesting on to compare as well. The phrasing and sense of rhythm are different than the others, and deserves a careful listening as well.

The Bach Suites are best appeciated by hearing the varied approaches of the many great cellists who have performend them. This is not a work where any serious listener or student of music can reasonably expect to own only one recording, but Slava's Bach Suites are a remarkable demonstration of artistry played on a remarkably beautiful cello. The recording is a technical masterpiece by EMI as well.

Highly recomended.

I'm a cellist in the National Symphony Orchestra, which Slava conducted for 18 years. It was my privilege to work with him and get to know him as a musician and as a person. Listening to these suites is a lot like talking to Slava--intense, human, warm, committed. No, they aren't like anyone else's playing, but Slava is unique. He has thought deeply about these pieces, knows every note in them, and wanted to pass on his vision of the music to the world. The playing is impeccable, the vision is transcendant. I prize these recordings as homage paid from one master, Slava, to another, Bach. (These recordings are the same music that is on the videos Slava made of the Bach suites, but in CD format.)

As a singer, I generally feel comfortable writing reviews of much of the Renaissance music I listen to - but cello music is different. I play the piano and the organ, so I can relate to the interpretation of instrumental music on some level; having never played a stringed instrument, though, I'm not sure I'm as equipped to judge this recording. But let me start by expressing my love for these cello suites. One thing immediately noticable about them is true almost universally of Bach's music - the emphasis is not on melody, but rather texture and harmony (and in the case of solo instrumental music, implied harmony). Even in the case of the prelude to the first suite (an enormously popular piece of music and one you'll recognize immediately even if you're not familiar with these pieces) the focus is on symmetry and proportion, and not melody per se. These works truly are masterpieces - Bach does more with one instrument than it seems possible to. There is a lifetime and more of music here. Moving on to the recording itself, let me just say that I would pay $30 just for the liner notes. They are not just informative about the pieces played, but give fascinating insight into Rostropovish as a musician, artist, and a character. The depth of feeling with which Rostropovich approaches these pieces is really something. His playing is spectacular. The tempi (which struck me as fast in places on the first listen) actually make a lot of sense - once you realize what is mentioned above about melody, you realized that the quick tempos serve to highlight the texture of the line which is so important to the music. You can feel Rostropovich pouring himself into this music - what is more, you feel a connection with him on the level that he is obviously feeling the music speak to him just as it does to you as a listener (he speaks in the notes of the introspective nature of performance). Unfortunately, I haven't heard other recordings of the cello suites, so I can't give any comparative information - I can, though, recommend this recording based on the tremendous quality I see present.

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 fact that a cellist with the jaw-dropping credentials that Mstislav Rostropovich has would document these cornerstones of the cello repertoire (in his own words, "I must pluck up courage and record all the Bach suites as I have been so closely linked to them throughout my life") speaks eloquently of both the awe-inspiring majesty of Bach's original conception, and Rostropovich's unique sense of dignity and artistry. Happily, the resultant recording of the Bach Suites does justice to both artists and their respective qualities.

The recording is quite warm, with an emphasis upon the lower registers - an emphasis that reflects Rostropovich's fascination with harmonic pedal points and how they interact with the melodies in the higher registers. The recording, accomplished within a cathedral in the town of Vezelay, France, is very warm, with sumptuous echo that adds to the contrapuntal fervor that is normally implied in these pieces. As far as the playing is concerned, it is rightly said that Rostropovich shuns the extremes of harsh academicisism and overwrought histrionics, finding an ideal, thoughtful, and human balance - letting the music itself be witness to the great intellectual profundity and complex passion that lie at the heart of most of Bach's greatest music. As a little extra bonus, the liner notes offer selection from recorded interviews with Rostropovich given during the recording, as he goes into detail regarding his interpretations of each suite, and the particular significance the cello suites, and the music of Bach as a whole, has for him.

All in all, a wonderful recording.

In the hands of Rostropovich, these suites seem to unfold with a sense of certitude and inevitability. He gives a strong-willed performance that may strike the listener as either overwhelming or overbearing, depending on one's tastes. Whatever the case, devotion is never in short supply, as Rostropovich pours his entire being into the music. Be warned that the technique struggles at times, notably in the Second Suite's Menuet, Fifth Suite's Gavotte, and Sixth Suite's Gavotte. The music is nevertheless held together by an unfailing sense of rhythm that underscores the structure of Bach's writing. In short, this performance is a deeply heartfelt one that throws all caution, daintiness, and inhibition out the window in favor of raw human emotion.

I have listened to so many versios of the suites. Bach is my favorite composer, and his cello suites are the most beautiful music in the world to me. The absolute refinement and the triumph of simplicity! I love Casals' EMI recording very much. But my favorite is Slava's. I know many people like Yo Yo Ma, but techinical perfection does not make music music. I once went to hear him play Dvorak. I waited the whole time to be moved by his music, and yet, I sat there in the concert hall, feeling totally outside of his music. Yo Yo Ma's music does not move me or speak to me. I love performances that touch my heart. Slava may not be for everyone, but he is THE cellist for me. As he communicates with Bach's music, Slava pours his soul and enables his cello to sing the most beautiful and divine music. I love the DVD, too. He just sits there, not moving or showing emotions on his face, and simply plays the music. No frills, no excess, no nonsense. The deep core sounds on the lower register alone fill me with so much joy and love for cello. This recording is simply the best...

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.

If you are going to purchase this collection, you've probably heard them before and want to own them. I can listen to them again and again, but admittedly this kind of classical is not for everyone.
I'm not an expert on the variations and renditions of the cello suites, like some of these reviewers, but i can say that i am very familiar and a regular listener of classical music, and i find them very beautiful to listen to. The quality of recording is very high, so it you have a high end sound system, you may take great delight in listening to the suites again and again.
Worth the $$.

Celloists are one of my favorite studies, probably a result of listening to my cousins' attempts to master the instrument at a young age. My Casals vinyl will always remain favorite with the charm, pops and hisses, et al as a result of my many hours of delight. Alas, I had to move on to the CD.

Since Yo-Yo Ma has become a household name (is it because his name is "the most carefully pronounced in show business" since "The Mother Folkers"?) I have included many of his recordings in my CD collection. However, Rostropovich is THE staple of my collection and remains a huge influence on my appreciation of the intrumental masters.

Rostropovitch has proved to be a consistent genius of the instrument and I added this set to my collection as soon as EMI brought it to the public. On a whim, I purchased Yo-Yo Ma's set called "The Cello Suites Inspired by Bach" to compare the talent as well as their interpretations of these great Suites. If you can't afford to compare these sets on your own, go with Rostropovich.

Yo-Yo Ma worked on a film series "on a journey to discover the complex roots of creativity" and his set is the product of that collaberation. The films might show a fresh perspective of the genius that is Bach; but Rostropovich plays the soul and lyric of these Suites with amazing interpretation. As he was student of Casals, I look forward to his student (Yo-Yo Ma) to continue this tradition of master/apprentice excellence.