[.ca] Unaccompanied Cello Suites 1-6

From Amazon.com:
Mstislav Rostropovich is one of the few musicians who can create a larger-than-life experience through the combined forces of exceptional music, a beautiful instrument, and uncommonly facile communicative skills. In his performances of Bach's transcendent masterpieces for solo cello, Rostropovich finds a perfect balance between a romantic, rhapsodic interpretation and one that emphasizes the purely formal "aridity" of Bach's structures. Although it's nearly impossible to isolate one or two highlights, the Sarabande and Prelude from Suite No. 5 are among the most profoundly moving cello performances you will ever hear--the closest we probably will ever come to experiencing through music the soul of both Rostropovich and Bach. Not everyone will immediately appreciate the very resonant sound that emphasizes the cello's lower register. But after a few minutes your ears adjust, the music takes over, and nothing else seems important. --David Vernier

Great, or are they?:
These suites are desert island music for me, one of the great glories of Western music. For all the buzz surrounding this set, Rostropovich's interpretations tend to leave me a bit cold, in part because it's unclear what exactly his interpretations are. To my ears, this is baroque music often overlaid with a Romantic's sensibilities, in part because of the rich modern cello sound, but much more so because of the seeming capriciousness of the playing, with tempo choices and dynamic shifts that don't always cohere over the course of each suite or within individual movements. Rostropovich seems to delight in the beauties of the cello's sound over keeping the musical "argument" both clear and attractive. These recordings are certainly expressive, but sometimes at the expense of lilting rhythmic drive (a hallmark of baroque music) and gracefully flowing melody. These are very far from bad recordings of the suites, but if you want to hear playing arguably more within the spirit of the baroque era, playing with more dance-like sprightliness and grace, you should probably look elsewhere. Bylsma's first set on Sony (at budget price, no less) is one very fine choice. For a more modern-style interpretation, Robert Cohen on Regis (also part of the complete Bach edition on Brilliant Classics) gets little attention but is worth seeking out.

The definitive 'cello suites.:
This is perhaps the most challenging piece of the cello repertoire -- a series of technically complex, solo compositions, all pure naked cello, with no other instrument for the performer to hide behind. Only the greatest of the cello masters have dared to record it, and all three of the giants of the recording era (Casals, Rostropovich, and Ma - in chronological order) have done it. I own and love all three, but the greatest by far is this one. Casals' recording shows a breathtaking technical perfection; Ma's is emotionally rich; but Rostropovich manages both -- the technical brillance married to a richness so thick, you can almost chew it, like "al dente" pasta -- "to the tooth." One of the greatest recordings of all time.

Subtle, heartfelt, perfectly Baroque:
Baroque is by far my favorite classical period, and Rostropovich does it beautifully here. It has always seemed to me that the essence of Baroque music is that it is always in motion, very forward-feeling as it moves through theme and variation. Rostropovich clearly understands this. He may be more closely associated in many minds with the Romantic period, but he gives Bach his due in this excellent 2-CD set. His interpretation is lyrical, intricate and heartfelt, without ever becoming maudlin or mawkish. This quickly became one (actually, two) of my favorite classical CDs, perfect music to accompany almost anything.

Masterful cello works:
I've always thought that the cello was one of the more romantic instruments in the string section. I'm so used to hearing the name "Yo-Yo Ma" associated with Cello works that I bought this set without listening to it first. And what an experience I became immersed in. Rostropovich is apparently an absolute master of the Cello. There are many moods associated with Cello music, and Rostropovich seems to be able to evoke them all at least once in this two CD set. Fans of Bach will not be disappointed. Due to restrictions on CD size, the music isn't quite in the right order - On disc 1 is Suites 1, 4, and 5, and the other three on disc 2. But this does not detract from the listening experience. Bach's cello is expressive, and Rostropovich captures every note expertly. Try this by firelight with your "significant other". No better music could be found that will capture mood more fervently than cello. You will not be disappointed.

Does not cut it technically:
I don't play the cello, but I imagine that these pieces must be very difficult given that Rostrapovich's recording is plagued with inaccurate intonation. When listening to this recording I find myself listening for the missed notes (practically every other one in some pieces) instead of to the music. In the liner notes Rostrapovich says he believes this to be the greatest music ever written. Unfortunately, the special affinity he has for this music doesn't come through in the performance.

• suite nr.1 (BWV 1007) In G Major: I: prelude
• suite nr.1 (BWV 1007) In G Major: II: allemande
• suite nr.1 (BWV 1007) In G Major: III: courante
• suite nr.1 (BWV 1007) In G Major: IV: sarabande
• suite nr.1 (BWV 1007) In G Major: V: menuet I -
• suite nr.1 (BWV 1007) In G Major: menuet II - menuet I
• suite nr.1 (BWV 1007) In G Major: VI: gigue
• suite nr.4 (BWV 1010) In F Flat Major: I: prelude
• suite nr.4 (BWV 1010) In F Flat Major: II: allemande
• suite nr.4 (BWV 1010) In F Flat Major: III: courante
• suite nr.4 (BWV 1010) In F Flat Major: IV: sarabande
• suite nr.4 (BWV 1010) In F Flat Major: V: bourree I -
• suite nr.4 (BWV 1010) In F Flat Major: bourree II - bourree I
• suite nr.4 (BWV 1010) In F Flat Major: VI: gigue
• suite nr.4 (BWV 1011) In C Minor: I: prelude
• suite nr.4 (BWV 1011) In C Minor: II: allemande
• suite nr.4 (BWV 1011) In C Minor: III: courante
• suite nr.4 (BWV 1011) In C Minor: IV: sarabande
• suite nr.4 (BWV 1011) In C Minor: V: gavotte I -
• suite nr.4 (BWV 1011) In C Minor: gavotte II - gavotte I
• suite nr.4 (BWV 1011) In C Minor: VI: gigue
• suite nr. 2 (BWV 1008) In D Minor: I: prelude
• suite nr. 2 (BWV 1008) In D Minor: II: allemande
• suite nr. 2 (BWV 1008) In D Minor: III: courante
• suite nr. 2 (BWV 1008) In D Minor: IV: sarabande
• suite nr. 2 (BWV 1008) In D Minor: V: menuet I -
• suite nr. 2 (BWV 1008) In D Minor: menuet II - menuet I
• suite nr. 2 (BWV 1008) In D Minor: VI: gigue
• suite nr. 3 (BWV 1009) In C Major: I: prelude
• suite nr. 3 (BWV 1009) In C Major: II: allemande
• suite nr. 3 (BWV 1009) In C Major: III: courante
• suite nr. 3 (BWV 1009) In C Major: IV: sarabande
• suite nr. 3 (BWV 1009) In C Major: V: bourree I -
• suite nr. 3 (BWV 1009) In C Major: bourree II - bourree I
• suite nr. 3 (BWV 1009) In C Major: VI: gigue
• suite nr. 6 (BWV 1012) In D Major: I: prelude
• suite nr. 6 (BWV 1012) In D Major: II: allemande
• suite nr. 6 (BWV 1012) In D Major: III: courante
• suite nr. 6 (BWV 1012) In D Major: IV: sarabande
• suite nr. 6 (BWV 1012) In D Major: V: gavotte I -
• suite nr. 6 (BWV 1012) In D Major: gavotte II - gavotte I
• suite nr. 6 (BWV 1012) In D Major: VI: gigue