Rostropovich: Bach Cello Suites

My most recent purchase of this DVD was a gift for a friend, but I already own a copy; and the Bach Unaccompanied Cello Suites are for me a map of my inner landscape or the shape and sound of my own thinking and feeling. Rostropovich's performances are, as could be expected, among the very best, ranking with those by Pablo Casals or Janos Starker. This DVD version allows the added pleasure of watching Rostropovich as he engages with the music. Highly recommended.My most recent purchase of this DVD was as a gift for a friend. I already own both the CD and DVD versions. Bach's Suites for Unaccompanied Cello are for me like maps of my own inner life, or incarnations of the elusive shapes of thinking and feeling. The DVD version allows the added pleasure of watching Rostropovich as he engages with the music and brings it to life. Watch this if you want to begin to know what music is about.

I'm neither a professional musician nor a Bach expert. Writing as a simple enthusiast of cello music, I can state unequivocally that this is the finest recording of Bach's cello suites that I've ever heard. I know that many consider Casals to be the standard, and it's hard to argue with that view. For my ear, however, Rostropovich has no equal. I would have been thrilled had this been merely an audio recording, but the added bonus of being able to watch the maestro perform and to hear his expert commentary before each suite is extraordinary. I'm extremely happy with this DVD - a great value from MovieMars.

I really don't know what to say about this DVD set. It is by far the wisest purchase I have made all year. I wont repeat anything that has already been stated, but this is so definitive, so incredible, so informative that it will leave anyone stunned and in need of some alone time with your Cello or Piano or Violin, take your pick.The sound quality is superb. I listened to it with the DTS for enhanced quality, while there was also a choice of Dolby Digital Surround Sound and PCM 2.0 (default) for regular TV sets. Listening to Rostropovich talk about about Bach (in subtitles) was incredibly engrossing. I had to watch the entire set twice, to make sure I wasn't imaging how good this was. It was like taking a music history / theory class directly from Rostropovich himself.I'm completely sold on Rostropovich and his philosophy with Bach and the interpretations. You'll see why.

The insistent longevity of these Suites is powerful no matter who plays them. I beleive you need to see them being performed in that this induces another dimension of contemplation, for there has been a large range of interpretations from the inital Casals. I prefer Pierre Fournier, he simply has the right tempi, and not so rhapsodic as Casals and Rostropovich who follows him.Although Rostropovich is my second preference,he seems to bring a bit more discipline to these Suites than Casals. And then Janos Starker,but this is in the end useless for we are speaking of different voices rendering a "voice" of Bach.There is also a fascinating dimension on an interpretation that has a more metallic timbre as Moshe Maisky,quite rich in timbre, than the original gut strings of Casals.But Rostropovich as well soars to new heights especially in the E-Flat Fourth Suite. He adds well- thought through structural analysis and odd bits of historical information on these Suites,works that he regarded as the highest form of musical expression. There is a scheme to the keys of these Suites he says in his introductory remarks. The First Suite in G Major is the most positive "youthful" he calls it then the lamenting power of D-minor has a shadow over the entire history of music. This is resolved again with the Third Suite in the more positive C Major follwoed by another major key of E-Flat in the Fourth Suite, Then the real weight of these Suites resides in the Fifth C Minor,the most memorable moments and the hopeful again Sixth in D Major written for a Five-String Violoncello.The "Preludes" we learn here in each Suite has the weights required the foundations in structure and shape.You see him then playing these Suites here within a cathedral Basilique Sainte Madeleine,Vezelay Yonne,France with perceptive cutting to and from away side shots,frontal and aerial isolated within a nook with adequete Christian images,solid white statutes of saints.The place was selected for the simple shapes,lines and rhythms of the archetecture the wall graphics in stone, shapes that Rostropovich felt the same strength of dignity as these Suites. I found this cutting away actually distracting,and I tend to think that these works transcend any frame of association with Christian icons and faith,Bach was Protestant. His use of the Sarabande is one glaring example, originally the Sarabande was the tune of the street for those of ill-repute, and one could have been incarcerated for playing a Sarabande in its original form from Spain. Well by the time the form came to Germany it was already purged of its murky past.But hardly the place of saints. These Suites if they have any meaning at all must transcend time and ideology, it is their overwhelming resonances not having specific associations.Rostropovich you may find his timbre somewhat gruff and hard edged at times especially when the phrase is punctuated, at the end on a lower string, Sometimes it is here rendered as a "noise",and "noises" do have functions within this context, "ugly" timbres are permissibale within these Six essays on humanity, the human condition, the spirit, yet I don't prefer these dead tones Rostropovich renders especially within his playing of the Fifth Suite C Minor where the lower C open and g open is utilized more frequently. There are also many moments where he creates unimaginable tension by not giving in to increasing the volume of the tone. He plays these works on a full-size violoncello.As I said the E-flat Suite he brings a focused interpretation especially the opening that could get tedious under the wrong hands with its continuous moving eighth notes,quavers,and semi-quavers. He discusses the "time" of these Suites, how they move in a strict motion, a reduction to what the pulse is, quavers or semi-quavers(eigtht notes and sixteenths).How whatever is established comes to be disrupted with cadenza-like gestures, as in the Fourth Suite "prelude" The balance of time is here discussed as well as the motion from strict business,heavier motions as "allemandes"and "preludes",music that needs to establish the frame to flights of indulgent rhythms.lighter means and materials as "bourees",minuets", gavottes""gigues", "courantes" runnings.Although even there Bach shines no light on each moment "pulling back" into minor keys reducing their timbre to whispers as in the First Suite "Menuet"( I, II, I) (G major to G minor) in these Menuets"it was like a turning the voice backwards, a "sotto voce" yet a turning of the planar perspective as well, as space.

Beautiful performances, but for my purposes, a total 'FAIL' [as the kids say] as a listening experience with the otherwise interesting and thoughtful but lengthy introductions by Rostropovich interrupting each piece. I have a Cantatas dvd that also does this and I never play it as a result. Would have preferred them placed all together at the beginning or end of the set, or with a digital feature option to play all performances or all lectures separately. Oh well, still worth owning, but may not have purchased had I known that.

Purchased the CDs when they were released----and they remained in my stereo for at least six months. Rostropovich's interpretation is simply beyond words...so imagine my surprise over 10 years later, taking cello lessons. My cello teacher loaned me a couple of cello DVDs---we wondered aloud if Rostropovich filmed his monumental recording. It would be understatement in the extreme to say how delighted I was when I found he did. These DVDs are even better than the CD recordings, for the artist described each piece in detail. HIGHLY RECOMMENDED!

This is a breathtaking DVD. While the playing is scintillating, I was struck by Slava's remarks about the music. It is so illuminating to hear him speak about the energy in the phrase and demonstrate on the piano. This a disc for all the senses not just the ears and eyes. Not since Casals have we had such wonderful marriage of musicianship and scholarship in one package. Bravo!

A very enjoyable program. However, the item I received had the same three suites (1-3) on each of the two DVDs. I am returning the item and purchasing a replacement.

Rostrobovich gives a wery fine introductin to all of the cello suites by Bach. The performance is in general exelent but in some of the suites some false notes sneak in perhaps because it has been a one take experience. I like it very much. By the way,had it not been for Pablo Casals who found the sauites in a second hand store this music might never have been.

Good to have this on a DVD which captures the essence of Rostropovich's playing. A 'must buy' for anyone studying the cello.

All 6 of these masterpieces, in superb performances by the great Russian cellist and musicologist in the empty Basilica of Ste Madelaine, Vezelay, France , are provided on this 2-disc set, together with a brochure in 4 languages devoted to a page each on the suites and their performer, prefaced by the track listings. The sound quality and the camera work are sensational; the latter focuses appropriately upon the church, the cellist, and his instrument in a syncopation matching the rhythm of the music, and occasionally wanders into the streets of the village to create a sense of pure magic. At first I found the emptiness of the Basilica a bit eerie, but gradually it dawned that this was really the only way to hear these works, undistracted by the presence of other human beings: Bach and Rostropovich talking to me alone. Almost as much as the music, I loved the cellist's introductory remarks to each suite in Russian ( English Subtitles ), informally spoken alongside a piano in what I assume to be the drawing room of his dacha. These usually commence by drawing attention to a special feature or innovation of Bach incorporated into a particular movement. This is described, explained, and illustrated on piano or cello and compared with how other composers might have dealt with the same problem. The insights provided are profound and astonishing, helping us to gain a greater appreciation of that work and the totality of Bach's musical achievement. These comments on the technical form and spiritual quality of the music are interlaced with anecdotes about other composers, performers and colleagues in the broader fabric of Soviet society. They paint a riveting picture of what life under Stalin was like for artists of the period, and they present the narrator as a simple, serious and sincere humanist, who was fortunate and skilful enough to survive these dreadful times with his skin and honour intact. What a glorious experience in music and the persona of those who make it these discs provide!

Se amate Rostropovich questi 2 dvd non dovete assolutamente perderli! Semplicemente stupendi. Avevo già acquisto i due cd, ma vedere anche le esecuzioni registrate nella Basilica di Vezelay nonchè le interviste e il racconto dei brani da parte dello stesso Rostropovich è un qualcosa di veramente unico. L'unica avvertenza è che, come al solito, non ci sono sottotitoli in italiano ma solo in inglese, francese, tedesco e spagnolo. A parte questo, tutto il resto è solo un totale incanto.

Inutile qualsiasi commento, le Suites suonate dalla santità del violoncello parlano da sole. Non possono mancare nel corredo del violoncellista e non solo.