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Bach, J S: Cello Suites Nos. 1-6, BWV1007-1012

Sigiswald Kuijken (shoulder cello)

…Sigiswald Kuijken… now brings us the Cello Suites on the violoncello da spalla, or shoulder-cello. The sound, perhaps not surprisingly, sits somewhere between those of the cello and the viola,...

Bach, J S: Cello Suites Nos. 1-6, BWV1007-1012

Sigiswald Kuijken (shoulder cello)

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…Sigiswald Kuijken… now brings us the Cello Suites on the violoncello da spalla, or shoulder-cello. The sound, perhaps not surprisingly, sits somewhere between those of the cello and the viola,...

About

Bach’s cello suites played on the instrument for which they were conceived: the shoulder cello (violoncello da spalla). This recording casts a completely new light on these pieces and their origin.

Contents and tracklist

I. Prelude
Track length2:37
II. Allemande
Track length4:21
III. Courante
Track length2:38
IV. Sarabande
Track length2:27
V. Menuet I-II
Track length3:10
VI. Gigue
Track length1:43
I. Prelude
Track length3:25
II. Allemande
Track length3:54
III. Courante
Track length2:25
IV. Sarabande
Track length4:01
V. Menuet I-II
Track length3:12
VI. Gigue
Track length2:35
I. Prelude
Track length3:47
II. Allemande
Track length3:40
III. Courante
Track length3:23
IV. Sarabande
Track length4:28
V. Bourree I-II
Track length4:30
III. Allegro
Track length5:06
I. Prelude
Track length4:16
II. Allemande
Track length3:51
III. Courante
Track length3:28
IV. Sarabande
Track length4:11
V. Bourree I-II
Track length5:30
VI. Gigue
Track length3:08
I. Prelude
Track length5:57
II. Allemande
Track length5:14
III. Courante
Track length2:26
IV. Sarabande
Track length3:21
V. Gavotte I-II
Track length5:42
VI. Gigue
Track length2:06
I. Prelude
Track length4:39
II. Allemande
Track length7:10
III. Courante
Track length3:46
IV. Sarabande
Track length4:06
V. Gavotte I-II
Track length4:55
VI. Gigue
Track length4:04

Awards and reviews

September 2009

…Sigiswald Kuijken… now brings us the Cello Suites on the violoncello da spalla, or shoulder-cello. The sound, perhaps not surprisingly, sits somewhere between those of the cello and the viola, achieving a happy combination of the former's depth of tone and the latter's melodic lucidity. There must be few players who start their relationship with these wonderful pieces so late in life, and there is much wisdom and fine Baroque sensibility on show here; Kuijken's secure momentum and gentle grasp of the music's dance rhythms are something any player could learn from. However much it may look like an eccentric experiment, this questing release from one of the great figures of the period revival is one of major interest.
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