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Bach: 6 Suites for Cello, BWV 1007-1012 | 
 enlarge | Creators: Anner Bylsma, Johann Sebastian Bach
Label: Sony
Category: Music
List Price: $31.98
Buy New: $17.79
You Save: $14.19 (44%)
New (10) Used (1) from $17.79
Rating:  17 reviews
Sales Rank: 13815
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.4
Dimensions (in): 5.6 x 4.9 x 0.7
MPN: 48047
UPC: 074644804720
EAN: 0074644804720
ASIN: B0000027TV
Release Date: February 9, 1993
Availability: Usually ships in 1-2 business days
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Shipping: International shipping available
Condition: Brand new, factory sealed. Fast shipping!
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| Tracks:
Disc 1
| • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Menuet 1 & 2 | | • | 6. Gigue | | • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Menuet 1 & 2 | | • | 6. Gigue | | • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Bourree 1 & 2 | | • | 6. Gigue |
Disc 2
| • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Bourree 1 & 2 | | • | 6. Gigue | | • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Gavotte 1 & 2 | | • | 6. Gigue | | • | 1. Prelude | | • | 2. Allemande | | • | 3. Courante | | • | 4. Sarabande | | • | 5. Gavotte 1 & 2 | | • | 6. Gigue |
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| Editorial Reviews:
Amazon.com
Anner Bylsma, who plays a Baroque cello in original condition, has written a whole book about the variety of bow strokes needed for this music. Fancying the use of the bow as an analogue to the use of a foil in a duel, he calls Bach a "fencing master," a term that implies intense training, physical coordination used with spontaneity, and a readiness to change the approach instantly as each successive, fast-moving challenge demands. His playing makes the music fresh and new with a flexibility and vitality that illustrates the thesis of his book. --Joe McLellan
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| Customer Reviews: Read 12 more reviews...
Better as a second set of Bach suites for your library (4.5 stars) January 1, 2009
A. J. Sutter (Tokyo, Japan)
There's no denying the artistry and technical gifts that are evident in this set. But the store where I bought this CD made Bylsma's their recommended recording of the Bach suites, just as some other reviewers call this the "ultimate" version; and there's where I differ.
Bylsma is very liberal with tempos, rushing in some places and going painfully slow in others, sometimes within the same movement. Maybe this fits in with Baroque practice, but to my ear it was kind of "Romantic". The results can be very expressive, expecially in the Preludes to each suite and some of the slower dance movements. Especially outstanding are Bylsma's Prelude and Sarabande of Suite No. 5, and his handling of the Allemande of Suite No. 6 (not usually one of my favorite movements in the Suites). But in the faster movements, the sense of dance was often lost. Some of the older recordings, such as the wonderful set by Maurice Gendron, have a more stable, "classical" notion of tempo, and focus on bringing out the dance character of even the slower movements. When it comes to the Bourees or Gigue in Suite No. 3, Byslma's approach can't compare, IMHO.
Another difference to Gendron is in the phrasing. Bylsma's phrasing often seems more like recitative or, in places, Sprechstimme -- it was as if his instrument was a human voice halfway between song and speech. This is a terrific achievement, but makes for a very idiosyncratic, somewhat psychological reading of the pieces. Generally, I found Gendron sunnier and more lyrical, and Bylsma more inward-turned, even anxious at times; though I can imagine there being times when Bylsma's take on the pieces would be more in tune with my mood.
I'm not a connoisseur of Baroque performance, so some might think my comments quite philistine. But if you're looking for your first set of CDs of this piece, I'd recommend going with Gendron or maybe one of the Casals sets first, so you can appreciate the very particular character and accomplishments of Bylsma's version.
A masterwork November 11, 2008
Carlos Miguel Poirot (Miami,Fl.)
For me this is the best recording of the Bach's suites for Cello solo.The quality of the sound is perfect,the balance between the room acoustics and the instrument is just perfect. Anner Blysma's performance is out of this world,very warm.
I'm very happy with this purchase.
A "Must Own..." June 10, 2008
D. Blair
For all lovers of these works, this particular recording is a must. The delicacy of each stroke is beautifully beyond written words.
The instrument used is spectacular. It is a Stradivarius from the Smithsonian, dating from 1701--and is unique even among this class. It has a tenderness and grittiness that remains completely controlled and is tonally unmatched. Every possible angle an instrument of this purpose could see, has been witnessed in its time and is beyond refinement. Each bow melds into the entire body of the 300 year old seasoned wood, and not a fragment of a note can escape being sculpted by its aged grace.
The master performing them has such patience with each stroke. Therein lies a story with each approach and each attack, an emotion and a purpose. Nothing is wasted here. The fact that underneath all this exists these beautiful perfect notes aligned by God's master music composer, is why you must own this.
String Theory in the Majors and Minors March 20, 2008
Giordano Bruno (Wherever I am, I am.)
11 out of 14 found this review helpful
Listen up, sports fans! If you haven't heard the six Suites for solo cello by JS Bach, no matter how old you are, you haven't fully lived. Each of the suites has the experiential equivalent of: climbing a mountain in the Himalayas (I have!); watching your team sweep the World Series (I have!!); giving an SI swimsuit model a sponge bath (I have... but she was only four years old at the time.); and meditating for a year under a bodhi tree (I haven't). Without Bach, you haven't lived 40 years; you've lived one year forty times!
Baroque cellist Anner Bylsma is, as baseball announcers say, the whole package, a four skills player: left hand on the fingerboard for pitch and tempo, right hand on the bow for phrasing, left brain for understanding the complex rhythms and rhythmic patterns, right brain for emotional depth.
For those blessed souls who know the Bach cello suites well enough to hum them in the shower, the question is, why bother to acquire another performance of them when you're already thrilled enough with your Rostropovich or Casals? The answer is that Bylsma understands Bach in a different dialect, the language of historically informed performance, and has the skills to make you hear the difference. That's the joy of great music, by the way; it never gets trite, it gets more meaningful every time you hear it carefully. Listening to Bylsma right before or after Yo Yo Ma, you have every justification for adoring Ma's bold richness of timbre and thinking Bylsma is just too fussy about nuances. Listen again another day, however, and you might find Bylsma's headlong dance tempi exhilarating and Ma's bigness merely blunt.
There's another performance of the six suites on Baroque cello, with authentic gut strings, that you might also want to hear - that of cellist Jaap ter Linden, which is included in the Brilliant Classics complete Bach box. Honestly, I've only once heard a performance of these suites, by anyone, that I didn't enjoy... and that one wasn't recorded.
The best September 19, 2007
Shami Ghosh
2 out of 2 found this review helpful
This has got to be the best recording of the cello suites available! Some might quibble about many of Bylsma's decisions - including the use of a modern bow - but period performance shouldn't become just a matter of rules - performers were not like that in Bach's time. Bylsma provides an amazingly sensitive, heartfelt reading of the suites, and the Servais cello has an absolutely amazing sound. The cello piccolo in the sixth suite is a special treat too. Some of Bylsma's tempi may take a bit getting used to, but some of the improvisations are wonderful - the end of the prelude to the D minor for example. This will always be my companion!
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