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Bach: Cello Suites

Telarc

Available as CD

$18.99

Feb 02, 2010

Bach: Cello Suites

Bach: Cello Suites

$18.99
CD

Telarc

Feb 02, 2010

TEL31978

Bach: Cello Suites

Fra Bernardo

Available as CD

~~$20.99~~ $15.99

Aug 09, 2019

After his studies at the Conservatorio C. Pollini in Padua, Francesco Galligioni specialized in playing the baroque cello and the viola da gamba. He is one of the founding members of the Venice Baroque Orchestra, with which he has toured and recorded numerous times. He has worked with conductors and soloists such as John Eliot Gardiner, Andrea Marcon, Gustav Leonhardt, Sara Mingardo, Christopher Hogwood and Magdalena Kozena. With the ensemble gambe di legno, Galligioni dedicates himself to previously undiscovered works from the Renaissance and Baroque periods. More recently, Francesco Galligioni has devoted himself increasingly to the baroque solo repertoire for violoncello. His great passion is the suites of Johann Sebastian Bach. After studying these mythical gems for a long time, Francesco will perform these works for the first time in concert over the next three years and he also record them for this album.

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Bach: Cello Suites

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CD

Fra Bernardo

Aug 09, 2019

FB1904783

Bach: Cello Suites

Berlin Classics

Available as CD

$42.99

Jan 27, 2015

Bach’s Cello Suites, the finest of all such works in the literature, speak in pure and clear voice, always spiritual yet down to earth. Isang Enders (b. 1988) was principal leader of the Dresden Staatskapelle cello section for four years before embarking on his solo career. He is a co-founder of the Ceres Ensemble and a founding member of the Int’l Shostakovich Festival. “The suites should speak, sing, dance, hunt and contemplate – altogether subjectively and characteristically. The subjective aspect of this recording is the result of my firm conviction." – Isang Enders

Bach: Cello Suites

$42.99
CD

Berlin Classics

Jan 27, 2015

0300552BC

Bach: Cello Suites / Dmitry Badiarov

Ramee

Available as CD

$29.99

Oct 12, 2010

For which instrument Bach actually wrote his six suites for unaccompanied violoncello? Pictures, writings, and surviving instruments show that early violoncellos were made in different sizes, ranging from the size of a large viola to the modern full-sized violoncello. The modern cello is ordinarily held between the legs like a bass viol. In the seventeenth and eighteenth centuries this was not the only possible hold, especially not for small instruments. Bach possessed several violoncello piccolos with both four and five strings. These were made by Johann Christian Hoffmann, a contemporary of Bach in Leipzig. Historical evidence suggests that the appropriate type of violoncello for Bach's suites is that made by Hoffmann, and that, when played on the arm ('da spalla') like a violin, the number of unavoidable shifts is no more than average for baroque music. A violin or viola player can rapidly become accustomed to the fingering, which is almost identical to that of the violin. While not a single source mentions that Bach played the violone or viola da gamba, he is known to have been a capable violinist and viola-player. We can suppose that Bach himself had been the first player of these two great cycles of solo compositions. The present recording suggests a fascinating and convincing interpretation of the Six Cello Suites on violoncello da spalla by Dmitry Badiarov, one of the leading figures in the reconstruction of this instrument, and one of its most promising players.

Bach: Cello Suites / Dmitry Badiarov

$29.99
CD

Ramee

Oct 12, 2010

RAM1003

Bach: Cello Suites / Mstislav Rostropovich

Supraphon

Available as CD

~~$33.99~~ $25.99

Jan 28, 2011

BACH Cello Suites Nos. 1–6 • Mstislav Rostropovich (vc) • SUPRAPHON 4044-2, mono (2 CDs: 123:52) Live: Prague 5/26–27/1955

Although this set was released over two years ago, it only came to my attention more recently (and via a pirate clone on the Documents label at that). I then held off on writing a review, hoping that one of my Fanfare colleagues with expertise in string instruments would take the task in hand instead. As that has not occurred, I will now venture in where angels fear to tread. While Rostropovich did of course record the set of cello suites near the end of his career, for EMI in 1995 (issued on both CD and DVD; see the review of the former by David K. Nelson in 19:1), the release of another cycle from 40 years before, from the dawn of his career in 1955, is a major event that demands attention.

This recording was made at the annual Prague Spring Festival, when the cellist was but 28 years old. (It is also a notable occasion in that Rostropovich there met his wife, the famed soprano Galina Vishnevskaya, and proposed to her after a whirlwind 10-day courtship!) The monaural sound is quite clear, if a bit hard-edged and closely miked; the audience is very quiet, though now and then an occasional soft cough is barely audible in the background. While quite acceptable on its own terms, the audio quality of course does not compete with the velvety sound of EMI’s digital set. A similar disadvantageous comparison can be made about the quality of the cellos used; Rostropovich had not yet acquired his famed Duport Stradivarius, and the unidentified instrument used in Prague, while again good enough in and of itself, cannot compare with the ravishing, burnished tone quality of the Duport. For an instant revelation of the difference, listen to the opening of the Prelude to the Fifth Suite, where the sheer depth and opulence of the Duport in the EMI set is positively dumbfounding. There is also the occasional note in Prague that is not quite dead in tune—clearly due in part to the far less rich overtones of the instrument rather than any shortcoming on the part of Rostropovich. If the sound of the instrument itself is a decisive desideratum here—and for many people it justifiably is—then this Supraphon release will likely not be much more than a curiosity.

However, in addition to instrumental sound there is the issue of differences in interpretation over the intervening span of four decades, and that is where this set comes into its own. The first thing to note is that overall, with the major exceptions of the preludes to the First, Third, and Fourth suites, the Gigue in the First Suite, and the Sarabande in the Fifth Suite, the earlier performances are noticeably swifter. (The total timing of the EMI set is 137:54, compared to 123:52 here). That said, comparisons of some individual movements can be misleading, as in the 1955 performances Rostropovich omits repeats in some movements—e.g., the allemandes in the Third and Sixth suites, the bourées in the Fourth Suite, the Courante in the Sixth Suite—though even in some of those instances the 1955 versions would still be swifter if the repeats were observed. (The cuts in Prague doubtless stem from Rostropovich’s early training; in the booklet notes to the EMI set, the cellist recounts that his teacher, Semyon Kozolupov, strictly forbade pupils to play repeats of the second half of movements written in binary form, allowing repeats only in the first half.) If observance of all the repeats is a major criterion for evaluating a set of the suites, then again this set will not be competitive with the EMI studio recording.

What, then, does this Supraphon set have that commends it as a supplement or alternative to the EMI studio version? In a word (actually two words), that elusive and almost intangible quality I would call “narrative intensity.” Despite my unreserved adoration of Rostropovich as the greatest cellist in recorded history (and is there any lover of cello music who does not so venerate him?), I had always found the EMI set of these suites somehow lacking, and this new release has finally made clear why. As tonally gorgeous and technically immaculate as those sets are, and despite the programmatic titles and descriptions that Rostropovich gives to each suite in that set, it is live in Prague and not in the studio that the cellist finds and articulates fully sustained interpretive profiles. Listen for example to the Sarabande in the Second Suite, dubbed “Sorrow and intensity” by Rostropovich in the 1995 EMI set. While that studio recording is very beautiful, it lacks meditative profundity; whereas in Prague there is a rapt sense of total inward intensity—what the Germans call Innigkeit —that transforms the movement into one bearing comparison with the symphonic Adagio s of Bruckner. Likewise, while still too slow for my taste, the gavottes and Gigue in the Sixth Suite in Prague have some forward momentum, unlike the suffocatingly leaden versions in the EMI set.

Another notable difference is that in Prague Rostropovich is metrically much more exact, whereas on the EMI set he is rather free (or “rhapsodic,” to borrow his description of Pablo Casals). This is particularly true in the in the concluding dance movements (the menuets, bourées, gavottes, and gigues), with the last two movements of the Second Suite again offering particularly striking instances. While I suppose that some might characterize the earlier recordings as comparatively stiff, I do not find them so, and indeed prefer the more strict approach as better articulating the structure of the music. On the other hand, I much prefer the brisker tempos taken in the EMI set to the preludes of the First, Third, and Fourth Suites, the Allemande in the Third Suite, and the Courante in the Sixth Suite, as imparting a necessary greater degree of energy to those movements.

While my overall interpretive preference is therefore with the Prague versions, I cannot simply recommend that set in preference to the EMI one for those desiring a recording of Rostropovich in this repertoire. The two sets are strikingly different, and each has its considerable merits in manifesting the cellist’s extraordinary musical genius. (Indeed, the Prague set caused me to appreciate virtues of the EMI set that had not registered with me before.) For fans of Rostropovich, it goes without saying that this is a mandatory acquisition; but to lovers of cello music in general and the Bach suites in particular, I would say much the same thing, despite its occasional limitations. Had this not come to my attention too late to qualify, it surely would have been a major Want List contender; urgently recommended.

FANFARE: James A. Altena

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Bach: Cello Suites / Mstislav Rostropovich

~~$33.99~~ $25.99
CD

Supraphon

Jan 28, 2011

SU4044-2

Bach: Cello Suites

LAWO Classics

Available as CD

~~$18.99~~ $14.99

Sep 07, 2018

The six cello suites on this recording have their parallel in six sonatas for solo violin, also from Bach's time in Kothen, before he moved to Leipzig. On the title page of the violin sonatas the composer wrote Libro primo. The original manuscript of the cello suites has vanished, but both wife Anna Magdalena and others left copies. Did the composer perhaps call the cello suites Second Book? Traditional dance forms are the bones of the suites as they are in other suites by Bach and other Baroque composers. But this is not music for a palace ball. The dance tradition serves as the basis for an unrelenting elaboration and exploration of contours, sounds, and rhythms. Bjorg Lewis is one of Norway's most sought-after and admired cellists. She plays on a Gennaro Gagliano dated 1748.

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Bach: Cello Suites

~~$18.99~~ $14.99
CD

LAWO Classics

Sep 07, 2018

LWC1154

Bach: Cello Suites

Supraphon

Available as CD

~~$33.99~~ $25.99

Mar 27, 2020

Bach could hardly have imagined how popular his cycle of Six Suites for Cello Solo would become nearly 300 years after he finished writing them in C�then. There are more than 200 existing historical and contemporary recordings of "informed" and "modern" interpretations - that tells it all. The music makes extraordinary demands on players' technical and interpretive ability and their overall comprehension. In the suites, Bach managed to create music that is highly innovative (it is worth noting that the cello was still developing at the time), and yet he retained his stylistic purity and comprehensibility. While these are formally dance suites, the architecture of some of them is more like that of a cathedral, in part thanks to the wealth of contrapuntal writing. They are a great challenge for everyone who has mastered the cello, Sa�a Vectomov included. His first teacher was his father (he studied in Paris with Piatigorsky and Fournier and with Casals's assistant Alexanian). The playing of the young Vectomov was then strongly influenced by Rostropovich's teacher Semyon Kozolupov at the Moscow Conservatoire and by Andr� Navarra in Italy. Besides his solo career, he also excelled at playing chamber music (Czech Trio, City of Prague Quartet) and was an equally wonderful teacher. For the recording of the Bach suites that he made in Prague at the Rudolfinum in the summer of 1984, he prepared himself for several years. In 1980, for example, he played the whole cycle from memory at a single concert. His recording can be characterized as having unmistakable beauty of tone, perfect intonation, and brilliant technique, but above all it is the deep comprehension of the "text" and the immediacy of the musicianship that make this recording something timeless and exceptional. Bach - Cello Suites: timeless music on a timeless recording.

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Bach: Cello Suites

~~$33.99~~ $25.99
CD

Supraphon

Mar 27, 2020

SU4275-2

Bach: Cello Suites, Vol. 2 / McFadden

Naxos

Available as CD

~~$19.99~~ $9.99

Oct 23, 2020

J.S. Bach’s Cello Suites are believed to have been written in the Saxon town of Cöthen between 1717 and 1723. They stand near the apex of Bach’s compositions for a single instrument and contain some of his most beautiful and vivid writing. Jeffrey McFadden’s guitar arrangements augment these elements with their own harmonic complexity, creating a new string medium for these epochal works. Volume 1, containing the first three suites, is on 8.573625. ‘McFadden’s ability to make the guitar sing is second to none’ (Daily Telegraph, UK). J.S. Bach’s six Cello Suites have been arranged for guitar in the past, with Francisco Tárrega starting this tradition in the 19th century, followed by the likes of Andrés Segovia and John W. Duarte. Each new arrangement brings contemporary thinking and fresh insights and research, and Jeffrey McFadden’s superb transcriptions have been applauded at numerous concert performances in which he was able to refine and hone his approach in advance of these recordings.

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Bach: Cello Suites, Vol. 2 / McFadden

~~$19.99~~ $9.99
CD

Naxos

Oct 23, 2020

8573626

Bach: Cello Suites / Kliegel

Naxos

Available as CD

~~$29.99~~ $14.99

Feb 22, 2005

Bach wrote his six Suites for unaccompanied cello at C�then, about the year 1720. It is thought that the first four, at least, were written either for Christian Ferdinand Abel, bass viol player at C�then, or for Christian Bernhard Linike, more probably the latter. Abel, appointed to C�then in 1715 is not known to have been a cellist, while Linike was distinguished rather as a player of the cello and in this capacity had been appointed to the musical establishment of the court in C�then in 1716, thus rejoining former colleagues from the Prussian court musical establishment, disbanded in 1713 by Friedrich Wilhelm I on his accession to his father's throne. Both musicians were friends and colleagues of Bach. The original autograph of the suites is lost and the earliest copy is that made by the Gr�fenroda organist and composer Johann Peter Kellner in about 1726. This is followed by that in the hand of Bach's second wife, Anna Magdalena, made probably in 1727 or 1728 for the Brunswick-Wolfenb�ttel chamber musician Georg Heinrich Ludwig Schwanenberger, who had visited Leipzig at the time and taken lessons in thoroughbass from Bach, for whose daughter Regina Johanne he stood as godfather. Each of the six cello suites opens with a Pr�lude. Suite No. 1 in G major, BWV 1007, has an introductory movement in which the changing harmonies are made clear in arpeggiated form. The usual Allemande and Courante are followed by a slow Sarabande, with a repeated Menuet II framing a G minor Menuet II. The suite ends, as it should, with a Gigue. Suite No. 2 in D minor, BWV 1008, opens again with an elaborate Pr�lude, ending with a series of grandiose arpeggiated chords. Once again the Allemande and Courante lead to a Sarabande and a D minor Menuet I is repeated to frame a D major Menuet II, before a lively final Gigue. Suite No. 3 in C major, BWV 1009, has a Pr�lude that is marked Presto in a slightly later source. This opens boldly with a descending scale and an arpeggio that ends on the resonant bottom string of the instrument. A relatively elaborate Allemande is paired with a simpler Courante, followed by a stately Sarabande, a well-known movement that leads to the still more familiar pair of Bourr�es, the second in C minor. The suite ends with an energetic Gigue. The fourth of Bach's cello suites, the Suite in E flat major, BWV 1010, opens, like the others, with a demanding Pr�lude. An Allemande follows, paired with a Courante, leading to a contrasting slow Sarabande. A busier first Bourr�e is followed by a second that is simpler in texture and in the same key. The last movement is a lively Gigue. The fifth and six of Bach's cello suites differ in various ways from the first four. The fifth, the Suite in C minor, BWV 1011, was originally written in scordatura, a practice sometimes found in string music of the period, with the top A string of the instrument tuned down to G. The opening Pr�lude has a slower, embellished introduction before an extended faster fugal section in triple metre, it's fugal texture largely implied. An ornamented Allemande is duly followed by it's companion Courante and a slow Sarabande that strangely avoids the chordal pattern of it's predecessors. A first Gavotte is repeated after the unusual compound rhythm of the second Gavotte and the suite ends with a Gigue in dotted rhythm. The sixth of the suites, the Suite in D major, BWV 1012, is written for a five-string instrument, with an additional top string tuned to E. It has been suggested that Bach wrote this more difficult suite for the viola pomposa, a five-string viola that found occasional use from 1725 to about 1770. It seems, however, that Bach designed this work for the violoncello piccolo, a smaller form of cello, designed for more elaborate solo work and one that he uses elsewhere. The Pr�lude opens with the characteristic sound of bariolage, as the player repeats the note D on alternate strings. The Allemande has elaborate figuration and the companion Courante again exploits the wider possible range of the five-string instrument. A Sarabande is followed by a pair of Gavottes, played in alternation, and the suite ends with the customary and here demanding Gigue.

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Bach: Cello Suites / Kliegel

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CD

Naxos

Feb 22, 2005

8557280-81

J.S. Bach: Cello Suites

Ramee

Available as CD

~~$29.99~~ $22.99

May 29, 2007

Classical Music

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J.S. Bach: Cello Suites

~~$29.99~~ $22.99
CD

Ramee

May 29, 2007

SOL002

Bach: Cello Suites, Vol. 1 (Arranged for Guitar) / McFadden

Naxos

Available as CD

~~$19.99~~ $9.99

Jul 10, 2020

The six Cello Suites represent J.S. Bach’s genius at its most distilled, with the composer confronting the enigma of writing counterpoint for a monophonic instrument at its core. Jeffrey McFadden’s arrangement for guitar enhances the music, adding a harmonic dimension and making the implied interaction of voices explicit. The Suites contain some of the most fascinating and beautiful movements in all of Bach's oeuvre, and remain one of the most important works in the history of Western music. ‘Jeffrey McFadden not only is an extraordinary guitarist – he’s also an inspired musician’ (ClassicsToday.com on Naxos 8.554354, works by Napoléon Coste).

-----

REVIEW:

McFadden avoids the result coming too close to a version for harpsichord, though the guitar can never equate to the range of tonal colours available from a solo cello, nor, for that matter the dynamic range of the instrument. Though we do hear fingers moving around the fret, let me conclude this short review by admiring the clean-cut playing of this world famous Canadian guitarist. We can now look forward to the second disc.

– David's Review Corner (David Denton)

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Bach: Cello Suites, Vol. 1 (Arranged for Guitar) / McFadden

~~$19.99~~ $9.99
CD

Naxos

Jul 10, 2020

8573625

J.S. Bach: Cello Suites

Brilliant Classics

Available as CD

~~$16.99~~ $12.99

Nov 01, 2024

J.S. Bach: Cello Suites

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J.S. Bach: Cello Suites

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CD

Brilliant Classics

Nov 01, 2024

BRI96390

J. S. Bach: Cello Suites

Fuga Libera

Available as CD

$29.99

Feb 27, 2026

Miriam Prandi's deeply personal interpretation of Bach's suites for solo cello reveals a musical personality shaped by freedom and reverence for the work; her phrasing recalls not only the elegance of line in Bach's arias and recitatives but also the intricate figuration of his keyboard works. She naturally embraces certain elements of historically informed performance practice, although she refuses to be confined by it's prescriptions. She allows the music to speak in a way that all today can understand: a way that transcends stylistic labels and so-called modernity and speaks with clarity, conviction, and from the heart.

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J. S. Bach: Cello Suites

$29.99
CD

Fuga Libera

Feb 27, 2026

FUG858

Bach: Cello Suites Nos. 2, 4 & 5

Fontenay Classics

Available as CD

~~$20.99~~ $15.99

Apr 21, 2017

There is a certain time for everything in life. And while we have all the time in our lives to become familiar with and play Johann Sebastian Bach's six suites for unaccompanied cello, there is only a very limited amount of time to record them. (Niklas Schmidt) Encouraged by his recording producer, Niklas Schmidt recorded the remaining suites II, IV and V in a space with an especially fine sound: the Andreas-Kirche church in Berlin Wannsee. For Schmidt this is not just any album, but the completion of a lifelong dream.

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Bach: Cello Suites Nos. 2, 4 & 5

~~$20.99~~ $15.99
CD

Fontenay Classics

Apr 21, 2017

FCI010

Bach: Cellos Suites Nos. 1 & 2

Alpha

Available as CD

~~$20.99~~ $15.99

Feb 07, 2025

The Franco-American cellist Sonia Wieder-Atherton has always sought to make music a language open to the world. A prizewinner in the Rostropovich Competition at the age of twenty-five, she is the interpreter of choice for many contemporary composers, among them Pascal Dusapin and Wolfgang Rihm, and has collaborated with actresses such as Fanny Ardant and Charlotte Rampling, as well as the film director Chantal Akerman. Sonia Wieder-Atherton's partnership with Alpha Classics comprises three recordings of Bach's Cello Suites, beginning with this recording of Suites Nos. 1 and 2. This and the following two volumes (Suites 3 to 6) feature photos by the great Sarah Moon: "For me, playing Bach's Suites is always at some point or another seeing the image of Giacometti's hands tirelessly moulding clay until a face appears. (...) To get to grips with the Bach Suites is an experience very close to that. It's a question of digging into the string until the phrase is born, as well as the right way to breathe it. (...) And then came the encounter with Sarah Moon. When my desire to record the Bach Suites was born I dreamt of her images. Because, when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history begins."

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Bach: Cellos Suites Nos. 1 & 2

~~$20.99~~ $15.99
CD

Alpha

Feb 07, 2025

ALPHA1053

Marrow - The Bach Cello Suites / Thorsteinsdóttir

Sono Luminus

Available as CD

~~$19.99~~ $9.99

Jun 23, 2023

There is an Icelandic saying, “mergur málsins”, which directly translates to “the marrow of the matter,” and these Suites, to me, speak directly to the essence of being human. As for many cellists, these Suites have been my steady companion throughout my life with the cello, first as a vehicle to learn counterpoint, style, and harmony, then as material with which to explore personal expression and interpretation, and today they are a mirror, reflecting the deeper truth of the human experience, revealing more layers of meaning each time I come back to them.

As far as we know, these Suites were not written for the church, and by 1720, they were not written for people to actually dance to, but rather as forms with familiar rhythms and style. In contrast to the Violin Sonatas and Partitas which were written around the same time, the Cello Suites each have the same movement structure, which includes a Prelude and two pairs of dances (Allemande and Courante, Sarabande and Gigue) with an added “wildcard” of pairs of Menuets, Gavottes, or Bourées. Rather than hindering expression, this structure seems to enable more creativity to flow, as Bach pushes the boundaries of the expressive and technical possibilities of the instrument with each succeeding Suite.

During the heart of the pandemic of 2020, I found comfort and refuge in these Suites. As I began to play them not just individually but as a set, an arch started to emerge, a true Hero’s journey: starting with the innocent 1st Suite in G major, the first taste of bitter disappointment in the d minor 2nd Suite, a renewed optimism in the 3rd Suite in C major, the bold and brash 4th Suite in Eb Major, the dark tragedy of the 5th Suite in C minor, and finally the glorious redemption of the 6th Suite in D Major. My hope in presenting these Suites without repeats is to more clearly illuminate this arch of their presented order so that we may more closely follow this universal storyline. - Sæunn Thorsteinsdóttir

REVIEW:

Recordings of Bach’s six Cello Suites aren’t in short supply, so what does this latest new one have going for it? Icelandic-American cellist Sæunn Thorsteinsdóttir is known as a contemporary music specialist, returning here to what she describes as “mergur málsins” (“the marrow of the matter” in Icelandic), a constant companion throughout her musical life. Thorsteinsdóttir found solace in the suites during the pandemic and celebrated the 2020 summer solstice by playing each suite in a different church in Iceland’s remote Westfjords region. Thorsteinsdóttir views each work as part of a sequence, “a true hero’s journey” which takes the listener from innocence to redemption, tasting disappointment, optimism and tragedy along the way.

Knowing this isn’t a prerequisite for enjoying the performances, and Thorsteinsdóttir’s poised, lyrical playing makes this set a front runner among recent recordings.

-- The Arts Desk

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Marrow - The Bach Cello Suites / Thorsteinsdóttir

~~$19.99~~ $9.99
CD

Sono Luminus

Jun 23, 2023

DSL-92263

Bach: Cello Suites Nos. 1-6 / Weber

Prospero Classical

Available as CD

$32.99

Jun 19, 2020

Johann Sebastian Bach's Six Solo Cello Suites are some of the most iconic classical music works. They have inspired not only cellists and audiences but other artforms as well, and they have been featured in ballet and theatre productions, even in films. The Swiss cellist Maja Weber performs the complete cycle of six suites on an outstanding instrument: on the legendary Stradivari cello "Bonamy Dobrée-Suggia" (1717). Among those who have performed on this instrument is the English violoncellist Hancock, while it's owners include the English scholar Bonamy Dobrée, after whom the instrument is named. But the touching story of this valuable violoncello really begins with the mysterious and diva-like Portuguese violoncellist Guilhermina Suggia (1885-1950), whose playing on her favorite instrument combined technical perfection and great emotionality, allowing her to cast a spell on her listeners with her warm, deep tones. Outwardly eccentric and volatile, Suggia was essentially an intelligent, warm- hearted woman. The instrument was sold on her death and the proceeds used to support a scholarship at London's Royal Academy of Music. The Bonamy Dobrée-Suggia Violoncello is currently part of the collection of the Swiss Habisreutinger Stradivari Foundation. Maja Weber has played it all over the world at countless concerts during the last two decades.

Bach: Cello Suites Nos. 1-6 / Weber

$32.99
CD

Prospero Classical

Jun 19, 2020

PROSP0001

Bach: 6 Cello Suites / Richard Narroway

Sono Luminus

Available as CD

~~$18.99~~ $9.49

Sep 22, 2017

“For this recording, I use a modern setup: specifically a 1930 Carl Becker cello made in Chicago, and a modern bow. I admit that such a setup is quite far off from the sound world that Bach must have imagined when composing these suites. I have done my best, however, to balance this modern setup with a thorough understanding of Baroque stylistic principles, particularly in regard to sound production, bow strokes, vibrato, slurring, voicing, and ornaments.

Australian cellist Richard Narroway has proven himself to be equally at home with repertoire both new and old. He has appeared as a soloist with the Grand Rapids Symphony and the HanZhou Philharmonic Orchestra, and in recital on Chicago’s WFMT Dame Myra Hess Series and the Keys to the City Piano Festival at Chicago’s Symphony Center. In addition he has given performances in Australia, China, Germany, Canada and the United States, in prestigious venues such as the Kennedy Center, Chicago Symphony Center, Preston Bradley Hall and the Sydney Opera House.

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Bach: 6 Cello Suites / Richard Narroway

~~$18.99~~ $9.49
CD

Sono Luminus

Sep 22, 2017

SLE-70010

J.S. Bach: Cello Suites Nos. 1-6

Analekta

Available as CD

~~$26.99~~ $20.99

Aug 01, 2008

Classical Music

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J.S. Bach: Cello Suites Nos. 1-6

~~$26.99~~ $20.99
CD

Analekta

Aug 01, 2008

FL231145

J.S. Bach: Cello Suites Nos. 1-3

ArcoDiva

Available as CD

~~$18.99~~ $14.99

Jun 09, 2015

J.S. Bach clearly thought of the solo Cello Suites as real cycles (no key repetition), while their textures are not as strongly polyphonic as those of his works for the solo violin. It is sometimes thought, therefore, that they were written somewhat earlier, but that is only an assumption. Their invention, technical prowess and form guarantee Bach's output for solo cello it's permanent place in the repertoire, as well as representing a great challenge to every cellist. A member of the Martinu Quartet, Jitka Vlas�nkov� ranks among the finest of contemporary Czech cello soloists.

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J.S. Bach: Cello Suites Nos. 1-3

~~$18.99~~ $14.99
CD

ArcoDiva

Jun 09, 2015

UP0173