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Disc 1:- Prelude
- Allemande
- Courante
- Sarabande
- Menuet 1&2
- Gigue
- Prelude
- Allemande
- Courante
- Sarabande
- Menuet 1 & 2
- Gigue
- Prelude
- Allemande
- Courante
- Sarabande
- Bourrée 1 & 2
- Gigue
Disc 2:- Prelude
- Allemande
- Courante
- Sarabande
- Bourrée 1 & 2
- Gigue
- Prelude
- Allemande
- Courante
- Sarabande
- Gavotte 1 & 2
- Gigue
- Prelude
- Allemand
- Courante
- Sarabande
- Gavotte 1 & 2
- Gigue
Customer Reviews
Average Rating:
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Difinitive
I think what most negative reviewers seem to have trouble with is Wispelwey's avoidance of a snake-like, constant legato. There are reviews which try to claim Bylsma plays more rhythmically straight than Wispelwey. I just cannot understand this obvious flaw in logic and aural perception. I'm listening to Wispelwey's recording as I speak and, although there is push and pull, it is done within a rhythmic phrame to which I could set a watch. It is stunning playing.
Now, having done away with the ridiculous criticisms, which, in any work as well-loved as the cello suites are bound to come up, to the playing. What sets Wispelwey apart for me is his confidence - his ability to work within boundaries of 'historically informed performance' without ever ignoring his own instincts. This is, in my view, as close as it gets to Bach's day - Wispelwey combines a perfect sense of baroque style with spontaneity (an important and overlooked part of this style) and personality. They sound as spontaneous as if they were just being casually read off the page for the first time, yet at times are as deeply-felt as if they had been lifed with for a lifetime.
If you buy this set (and remember it is extremely under-priced) you will constantly return to it; you may make many journeys away from it and towards other performances, but you will keep coming back.
And that's Bach's truth.
Rating: 
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Interesting
Mr.Wispelwey -- a very highly skilled cellist -- adopts what seems to be an unusual approach to these suites. His bowings sound "authentic," i.e. they are similar to the bowings found in the earliest known copies of the score, from the 18th century. However, his performance temperment in these suites seems to have more in common with emotions usually associated with 20th century music. This is an odd-sounding combination.
Mr. Wispewey's readings are personal and sometimes severe. He often sounds abrupt, tense, and peculiar. He seems to have sacrificed much of the flow from which these suites so greatly benefit. Nevertheless, these performances are very interesting.
(If you desire more flow with your "authentic" bowings, try the recordings by Jaap ter Linden or Anner Bylsma.)
Rating: -
Unprecedented and vastly under-rated - still
Wispelwey's rendition of this immense opus distinguished itself by its relentless liveliness and intimacy of delivery that is enabled by an extremely capacious grasp of the pulse and a spontaneously poetic sense of the line. A total lack of sense of pedantry disguises utmost refinement and complexity in colour and rhythm that not only allows enlivening of the dance form, but also breathes life into the presentation. The experience was effortlessly convincing, and very often, profoundly touching, shun of any artifice.
Rostropovich labored, Yoyo Ma glossed over, Jian Wang presented decently with effort, Tortelier delivered, Bylsma studied, Starked flamed. I believe Wispelwey joins the rank of the sublime - Fournier and Casals - playing of transcendant and universal beauty.
Rating: -
Sweet!
Best Bach I've heard yet. Clear, sensitive, dry, and a little melancholy. Stands out above so many Bach recordings.
Rating: -
So good to listen to
I have listened to many recording of these suites, and I play some of them myself, and I have to admit that this is one of the best. I really like his style of playing. He took the unfinished work of Bach, and finished it and making his own. This is a must have if you like the suites.
