Cello Suites

I never thought I'd hear a modern version of the cello suites that would even come close to my 4 favorites: Fournier, Tortelier, Gendron, and Bylsma (early version), but David Watkin is right up there with the best of them. My complaint about the modern versions, especially the "historically informed" ones is that they're always "edgy." The player seems to be struggling to stand out among the vast field by doing something quirky: usually taking some parts too fast or too slow (or both) or adding unmotivated hesitations or ornaments. (I'm not against added ornaments but sometimes, in the Art of Fugue for example, they just don't seem appropriate.)David Watkin does none of the above. He is simply interested in the music and what his marvelous musicianship can bring to it. Every phrase is unaffectedly expressed, the overall shapes of the lines come through, and no notes are short-changed owing to speed. In fact, his tempos are sometimes a little slower than in some versions done on modern instruments, but that these movements (except for the preludes) are dances is never lost sight of. He observes all the repeats, even in the da capo sections (which might be too much of a good thing!).As I said, this performance rivals the greatest of the old-timers, and easily beats every recent performance I've heard.

This is wonderful Bach. Yes there are many wonderful sets available, but this one is both outstanding for interpretation, and features great sound engineering. It's received a lot of attention and praise from critics. If you own 3 or 4 Bach Cello Suites, this should be among them. That being said, so should Janos Starker's on Sony, which is also great on both interpretive and sonic counts, and which took a Grammy in 1997. Is this an even more modern and therefore even better recording? Actually, it perhaps is, from a purely engineering POV. However, what that means is you get an uncanny dose of clicking, breathing, and--it must be said--sniffing and, uh, salivating. OK, I do a lot of near-field listening, so I get this right in my face, and from a very detailed system. I think it's kind of cool, but then I don't mind hearing it when the soprano has to deal with swallowing--which she does, because she is a human being and not a beat-box. Silliness aside, this is deep, powerful, dancing Bach. I can't imagine you not being entranced by it. But Starker too is wonderful, and in deeply different ways. Maybe Starker features more dance, less gravity?

It falls to me to take the contrarian view. As often happens, I was swayed by other reviews to purchase this. If I had been able to preview it would not have bought it. I nave never heard such echo and reverb in a recording of a solo instrument. It sounded to me like Grand Central Terminal had been emptied out and the cellist was playing somewhere in the middle of a vast, empty space. The performance as well left me unimpressed, but even more sadly, unmoved. I regard the set of opening preludes to each of these suites as one of the pinnacles of Bach's music, therefore one of the glories of western civilization, reaching the deepest depths of human feeling and emotions, connecting with the divine. I have come to realize that this appreciation is a due to a combination of the gifts of the composer wed to the performer. The heightened experience I describe comes at the hands of Pierre Fournier and Janos Starker primarily. If I hadn't heard these performances but only heard David Watkin I would sadly conclude that these pieces by Bach had only barely more substance then comparable pieces by someone like Vivaldi, a workmanlike composer to be sure but IMHO not one especially graced by the muse. Where Fournier and Starker probe and reveal deeper meaning Watkin skates right by in a rapid flurry of notes, doing little to discover and reveal the spiritual depths so evident in better hands. Perhaps my disappoint is not so much with the performer but with the period instrument approach. I find that the use of vibrato by my favored performers, as well as rubato and a less metronomic approach to the music allow for a more profound level of expression.David Comins

I have several complete sets of Bach's cello suites: Casals, Rostropovich, Fournier, Ma (X2), Bylsma (X2), Harnoncourt and Starker (X2), plus an assortment of incomplete performances, so when this one came out with raves and a Gramophone award I was eager to hear it. It is not bad. I appreciate the HIP approach, but it just doesn't grab me like  Starker's last version on Sony/RCA . That one grabs my attention and holds it throughout. It is musically and technically superb. My suggestion is to get the Starker set, and if for some strange reason that doesn't satisfy you, then look elsewhere...

Some musicians have the ability to convey to listeners the emotional content of a work so deeply that it compels a reassessment of what they thought they knew. That is how David Watkin's 2015 recording of the Bach Cello Suites affected me. Although I had been familiar with these works through the recordings of several great cellists over many years, this one seemed to reveal a deeper emotional level of awareness for me -- in addition to a beautiful sound and an acute sense of form and structure. Highly recommended.

This performance of Bach's cello suites goes right to the top among the best ones available in CD. In the hands of David Watkin the cello dances, sings and weeps. He conveys Bach's spirit with superb technique and sheer elegance. A must have release.

Superlative on all counts. Beautifully recorded, and wonderfully played.Fully deserving the Gramophone accolade earlier this year.

Oh sweet lord above this is absolutely breathtaking , glorious!!! this is in the top favourite recordings of bach cello suites, nothing else comes close . the playing, the recording top notch and of course the sound of the historic cellos its being played on. Ive never heard anything like this in my entire life!!!! Highly recommended!!!! you have to own this , you have too!!!!

This is going to become one of the great recordings of all time. David Watkin seems to have perfect pitch, as there is not one single note whose intonation is doubtful. He has a formidable musical sense and this (at least to me) is made more significant by his complete échouement of any vibrato. Sadly, he has an auto-immune condition which has now terminated his playing career. What a terrible pity, for him and for us.

All the reviewers of this CD, both here and elsewhere, have been overwhelmingly positive. It has won the Gramophone Best Baroque CD of the Year, and the Guardian has included it in it's TOP 10 picks of the BEST CLASSICAL MUSIC OF 2015 ( the other 9 being live performances by the likes of Glyndbourne Opera, Leipzig Gewandhaus Orchestra, Daniel Barenboim, Boulez etc!!!!!). I rest my case…..not to be missed.

Beautifully recorded with some very wonderful playing but some of the movements are taken too slowly and sound dirge-like which for me mars what could be a perfect interpretation of these suites.

Wonderful performance of the ultimate cello suites. A somber intense deep sound . Made even more special knowing tystbdavid Watkin isn't performing any more.