Bach Cello Suites,
The Music:
Not wanting to repeat or attempt to emulate what has already gone before and to a very high standard, we would commend the following:
The Cello suites In search of a Baroque Masterpiece by Eric Siblin ISBN 9781846553561.
This book is made up of three elements: A history of the origin and composer of the Suites. Biography of Pablo Casals credited with bringing the suites to the masses. Finally, a personal odyssey to learn to play the suites from scratch.
It is interesting that the author of the book, Eric Siblin had previously been a pop critic. To me, this is not surprising as I feel there is much which the Suites have in common with Jazz and rock, with similar focus on chords and rhythm. There is huge potential for improvisation and variation around the basic structure of the notation. This is encouraged by the lack of directions in the original scripts.
Some other worthwhile sources of information relating to the Suites.
(click on below to activate link.)
On Line magazine with limited number of recording reviews of the Suites.
Would you believe a list of copyright free music available on line starting with the Cello Suites?
Brilliant web site by Marianne Dumas. Difficult to do the site justice just click and visit!
For those who wish to know more about Bach and his life.
An artist web site by Steven Isserlis which sets the bar very high. Even includes a quiz!
NEW!!!
The cello museum. Fascinating on line magazine with useful whats on section and much else.
NEWER!!
Bach: The Cello Suites. Author Edward Klorman. ISBN 978-1-009-05459-1 price £15.00 Pub. Sept 2025.
Published by Cambridge University Press as part of their music handbook series, designed to provide accessible introductions to landmarks in music history.
The author contacted me about two years seeking permission to reference our web site in this forthcoming book. Needless to say, we have been very happy to consent.
Essentially this book is exactly as described- an accessible introduction to the Bach Cello Suites. It covers the context, analysis of the dance types, the various manuscripts and follows with first published editions. It then goes on to describe the transmission, performance and reception of the Suites in two distinct eras: pre 1900 and post 1900.
If you feel left wanting more meat than you find on this web site then this is a good starting point. The author goes into some detail on many aspects of the musical theory, composition and style of the Suites. He then explores various interpretations by musicians past and present.
I am particularly impressed by the huge number of references given which would enable the reader to explore even further, should you wish.
There were two particular points covered which aroused my interest. Firstly, the issue about how obscure the Suites really were when they were “rediscovered” by Casals in an old music shop. Klorman evidences the fact that in Germany the Suites were far from unknown although in Spain they appeared to have disappeared from view. Therefore this story may have had its basis in a regional variation of taste for music as well as a small amount of spin by the great cellist himself!
Secondly, that the first published editions did appear to take quite a few liberties with phrase markings and other editing. These then seem to have been slavishly followed and therefore perpetuated. It took someone like Casals to question these and encourage a return to the basic stripped back manuscript as a starter for fresh analysis. One of the most striking examples of this is the syncopation of the rhythm in the first Suite Gigue. Have a listen to the recording by Jean-Max Clement for a good example of this.
There will be significant sections that most readers will already be familiar with. This is inevitable unless the book were to end up like a Swiss cheese. I found some of the musical theory heavy going but then I only managed grade 5 theory! Overall, this book is easy to read and assimilate and strongly recommended.
In the preface page ii it states: (The book) will enrich the musical experience of students, scholars, listeners and performers alike. A Grand assertion but in my opinion most definitely correct!
Charles.