Reviewed by John Irvine

Little is known as to when JS Bach composed these suites for solo violincello or why - were they intended as an instruction manual like the "48" preludes and fugues for the piano? Were they composed with a particular performer in mind, for public or private use? History is silent. It is only comparatively recently that these solo suites have entered the main repertory for cellists: Pablo Casals championed them in the 1920s and 1930s and since then generations of cellists have held these pieces dear lo their hearts - Mstislav Rostropovich, the famous Russian cellist and conductor. This is the first time that he has recorded all six suites together and this recording has become something of a one-off event with the recordings available as two separate CDs or together in a box set, and a video version of the recording interspersed with interviews with Rostropovich is also available. While Rostropovich was deeply affected as a young man by hearing Casal's interpretations of the Bach suites, these are Rostropovich's personal interpretations of the suites, his emotions and feelings and memories are the ones which colour his playing. As he says in the sleevenotes: "We all weep when we suffer, we all know tears of joy. It is these fundamental emotions that Bach transmits in his suites." But it is not enough to copy another player's interpretation since "a copy cannot reflect your own feelings." Perhaps in the solo suites we are able to hear more of the private voice of Bach: we are certainly more able to hear, understand and appreciate the individual talents of each soloist, and Rostropovich is a master. here delicately walking the tightrope of a medium between a cold literal scholarly interpretation of Bach, and a romantic and rhapsodic treatment. His performances are both spirited and sensitive. The first suite is sprightly and energetic in a way suggesting great power under great control: the fifth suite is played as though Rostropovich is suffering or has suffered great sorrow, and yet the emotions are allowed to surround us without overwhelming us, to speak to us as though in dialogue with us, the listeners. In the third suite he is as dazzling as Bach's score requires. His performance of the wonderful sixth suite is as good as it gets, my friends! My only quibble with this recording would be the recording location. Basilique Sainte-Madeleine in France, which is a little specious for my liking, and perhaps a more intimate recording location would have resulted in a warmer sound. However, this is more a matter of taste than judgment and for the most part the cello is distinct enough without the recording environment being too intrusive. For me there is no instrument capable of sounding the depths of the human soul like the cello; there is probably no composer greater than Bach at writing music which expresses the human condition so well and which provides the platform for a great musician lo move his audience in a powerful and meaningful way. Rostropovich is a truly great musician. To speak of his performance as flawless or near perfect is to miss the point. It is not perfection bereft of humanity that he is aiming at in this recording, but a representation of Bach's music full of emotion and beauty. Before hearing this set of recordings I thought that nothing could replace the late Paul Tortelier's 1983 recordings in terms of its harmony of technical competence and emotion. I now feel the same way about Rostropovich's recording. Currently the best and likely to remain so for some time.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

Interested in reviewing music? Find out more here.