In this recording, David Stromberg deals with the well-known Bach cello solo suites. Unlike the usual recordings, he uses a historical style of playing and interpretation using the baroque cello, piccolo cello and a baroque bow. The gut strings of the baroque cello have a more versatile sound than the steel strings and enable the finest nuances in the tone. In this way one will discover these works in a fresh new way. The cellist David Stromberg is looking for new listening experiences - be it with the baroque cello, the cello piccolo or the modern cello. He is fascinated by both early music and new music, he searches for new forms of expression in improvisation, arranges well-known masterpieces so that they appear in a completely new guise and searches for forgotten instruments. David Stromberg completed his cello studies at the Hamburg University of Music and Theater in the class of Prof. Wolfgang Mehlhorn and at the Music Institute Schloss Edsberg in Stockholm with Prof. Frans Helmerson.

REVIEWS:

This is a lovely production. These fresh recordings of the 6 solo cello suites are the result of meticulous research and preparation by cellist David Stromberg. The first five suites are performed on a baroque cello which, according to the notes, has a slightly different tuning for number five. The sixth was apparently originally written for a five-stringed instrument which is used here. Straightforward and very accessible notes are included in the accompanying booklet.

-- Lark Reviews (Stephen Page)

With the versatile sound of the gut strings and also the historically informed handling of the bow, the finest nuances in tone can be explored. It is therefore only logical that David Stromberg concentrates entirely on his playing qualities and those of the music, away from any unnecessary fuss that only serves the presentation without meaning. Thus, on the one hand, he creates a coherent world of the six suites as well as a precise attention to the details of each movement and phrase. He sticks to the beautiful sound and only in a few places, for example in the fourth suite, he lets it creak a bit. But this then brings a new shade of color into the interpretation and does not seem careless or unintentional.

-- Pizzicato