Listen & tracks

3 of 36 tracks have a preview · 6 works · 147:58

Suite No. 1 in G major, BWV 1007Johann Sebastian Bach 6 movements19:12
1. 1 Prelude 2:18
2. 2 Allemande 5:28
3. 3 Courante 2:35
4. 4 Sarabande 3:18
5. 5 Menuet 1 and 2 3:42
6. 6 Gigue 1:51
Suite No. 4 in E flat major, BWV 1010Johann Sebastian Bach 6 movements25:30
1. 7 Prelude 4:11
2. 8 Allemande 4:01
3. 9 Courante 3:52
4. 10 Sarabande 4:46
5. 11 Bourée 1 and 2 6:01
6. 12 Gigue 2:39
Suite No. 5 in C minor, BWV 1011Johann Sebastian Bach 6 movements27:40
1. 13 Prelude 7:00
2. 14 Allemande 7:13
3. 15 Courante 2:03
4. 16 Sarabande 4:09
5. 17 Gavotte 1 and 2 4:56
6. 18 Gigue 2:19
Suite No. 2 in D minor, BWV 1008Johann Sebastian Bach 6 movements21:17
1. 201 Prelude 3:32
2. 202 Allemande 3:48
3. 203 Courante 2:20
4. 204 Sarabande 5:23
5. 205 Menuet 1 and 2 3:13
6. 206 Gigue 3:01
Suite No. 3 in C major, BWV 1009Johann Sebastian Bach 6 movements22:28
1. 207 Prelude 3:21
2. 208 Allemande 4:05
3. 209 Courante 3:23
4. 210 Sarabande 4:02
5. 211 Bourée 1 and 2 4:10
6. 212 Gigue 3:27
Suite No. 6 in D major, BWV 1012Johann Sebastian Bach 6 movements31:51
1. 213 Prelude 4:57
2. 214 Allemande 8:21
3. 215 Courante 4:02
4. 216 Sarabande 5:04
5. 217 Gavotte 1 and 2 4:37
6. 218 Gigue 4:50

Since Pablo Casals brought these works to public attention and presented them complete, the six suites have formed the backbone of musical understanding for every modern cellist. They remain the heartbeat of the cello repertoire and true windows into Bach’s world.

Zoe Knighton has performed the solo cello Bach suites since 2008. This two-CD set is her complete recording of the cycle.

In the artist’s words

The debate still rages about the origins and intention behind these suites. Were they written for the cellists of the court (Christian Ferdinand Abel and Christian Bernhard Linke) where Bach was employed at the time? Were they written for a strange instrument called a violoncello da spalla? … Without the surviving original manuscript or documentation, there is so much speculation and hearsay but as little bits of information come to light, one thing is mostly constant – the notes that are on the page.

But which page?! Are we to trust the Anna Magdalena transcript, his student, Kellner’s manuscript or the first printed edition? Dealing with these decisions and playing these suites comes with it a great education in understanding and coming to terms with one’s own aesthetic. In effect, the performance of these suites become a musical signature of each cellist.

Since our beloved Pablo Casals brought these works to public attention and presented them in their entire form, these six suites have formed the backbone and engine room of musical understanding for every modern cellist and indeed all lovers of Bach’s music.

Thinking of these suites not as individual movements or even as individual suites, but as an entire package has become more and more common. I often muse over the idea that a journey through life can be mirrored through the suites.

Suite 1: G major – Innocence and joy of childhood

Suite 2: D minor – The antithesis of innocence, teenage/early adulthood anguish of self discovery

Suite 3: C major – Triumph of adulthood, self satisfaction, grown ups having fun

Suite 4: E flat – The responsibility of coming of age – having doubts over one’s chosen path

Suite 5: C minor – The despair of aging, regret, longing

Suite 6: D major – The joy of relinquishing responsibility, the joy of a full life and the intense wisdom that comes with age – the sheer delight in having time on one’s hands

After playing these suites in chronological order, at the conclusion of the D major suite there comes an overwhelming urge to just quietly slip from the dominant (D major) to the tonic (G major) and begin the cycle again. It mirrors so much of the cyclical nature of life and death.

Of all the works that I play, these seem the most changing in my own perception of them. They grow with me and allow so many different angles of understanding. I think most cellists feel the same.

— Zoe Knighton

Reviews

Zoe Knighton’s Bach Suites recording is wonderfully insightful and of assured musicianship ... Knighton has produced a reading of great artistic integrity.

— Gordon Kerry, Loudmouth, The Music Trust

Artists

Johann Sebastian Bach

composer

Johann Sebastian Bach (1685–1750) was a German composer and organist of the late Baroque. His sacred and secular music for choir, orchestra, organ and solo instruments remains among the foundations of the Western concert and church repertory.

Zoe Knighton

cello

Zoe Knighton is at the forefront of a new generation of performers intent on forging an innovative path for the enjoyment of classical music. A founding member of Flinders Quartet, she is a leading Melbourne cellist and chamber musician.