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Bach: Cello Suite #1 In G, BWV 1007 - 1. Praeludium
Bach: Cello Suite #1 In G, BWV 1007 - 2. Allemande
Bach: Cello Suite #1 In G, BWV 1007 - 3. Courante
Bach: Cello Suite #1 In G, BWV 1007 - 4. Sarabande
Bach: Cello Suite #1 In G, BWV 1007 - 5. Menuet 1 & 2
Bach: Cello Suite #1 In G, BWV 1007 - 6. Gigue
Bach: Cello Suite #2 In D Minor, BWV 1008 - 1. Praeludium
Bach: Cello Suite #2 In D Minor, BWV 1008 - 2. Allemande
Bach: Cello Suite #2 In D Minor, BWV 1008 - 3. Courante
Bach: Cello Suite #2 In D Minor, BWV 1008 - 4. Sarabande
Bach: Cello Suite #2 In D Minor, BWV 1008 - 5. Menuet 1 & 2
Bach: Cello Suite #2 In D Minor, BWV 1008 - 6. Gigue
Bach: Cello Suite #3 In C, BWV 1009 - 1. Praeludium
Bach: Cello Suite #3 In C, BWV 1009 - 2. Allemande
Bach: Cello Suite #3 In C, BWV 1009 - 3. Courante
Bach: Cello Suite #3 In C, BWV 1009 - 4. Sarabande
Bach: Cello Suite #3 In C, BWV 1009 - 5. Bourrée 1 & 2
Bach: Cello Suite #3 In C, BWV 1009 - 6. Gigue
Bach: Cello Suite #4 In E Flat, BWV 1010 - 1. Praeludium
Bach: Cello Suite #4 In E Flat, BWV 1010 - 2. Allemande
Bach: Cello Suite #4 In E Flat, BWV 1010 - 3. Courante
Bach: Cello Suite #4 In E Flat, BWV 1010 - 4. Sarabande
Bach: Cello Suite #4 In E Flat, BWV 1010 - 5. Bourée 1 & 2
Bach: Cello Suite #4 In E Flat, BWV 1010 - 6. Gigue
Bach: Cello Suite #5 In C Minor, BWV 1011 - 1. Prelude
Bach: Cello Suite #5 In C Minor, BWV 1011 - 2. Allemande
Bach: Cello Suite #5 In C Minor, BWV 1011 - 3. Courante
Bach: Cello Suite #5 In C Minor, BWV 1011 - 4. Sarabande
Bach: Cello Suite #5 In C Minor, BWV 1011 - 5. Gavottes 1 & 2
Bach: Cello Suite #5 In C Minor, BWV 1011 - 6. Gigue
Bach: Cello Suite #6 In D, BWV 1012 - 1. Prelude
Bach: Cello Suite #6 In D, BWV 1012 - 2. Allemande
Bach: Cello Suite #6 In D, BWV 1012 - 3. Courante
Bach: Cello Suite #6 In D, BWV 1012 - 4. Sarabande
Bach: Cello Suite #6 In D, BWV 1012 - 5. Gavottes 1 & 2
Bach: Cello Suite #6 In D, BWV 1012 - 6. Gigue
2010
“Of all the great cellists, Pierre Fournier came closer to the heart of the music than almost any other. He seems to have possessed all the virtues of his fellow cellists without yielding to any of their self-indulgences. He could be brilliant in execution – his technique was second to none, as he proves throughout this set – profound in utterance, aristocratic in poise and wonderfully coherent in his understanding of Bach's articulation and phrases. We need look no further than the Prelude of the First Suite in G major to find the supreme artistry which characterises each and every moment of these performances. There are very occasionally notes which fail to reach their centre but they're few and far between, and Fournier's intonation compares favourably with that of some of his virtuoso companions. Fournier's rubato is held tightly in rein and when he does apply it, it's in the interests of enlivening aspects of Bach's formal writing. He can sparkle too, as he does in many of the faster dance-orientated movements such as courantes, gavottes and bourrées; in the sarabandes, he invariably strikes a note of grandeur coupled with a concentration amounting at times almost to abstraction. Above all, his Bach playing is crowned with an eloquence, a lyricism and a grasp of the music's formal and stylistic content which will not easily be matched. Fine recorded sound and strongly commended on virtually all counts.”
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Bach: Cello Suite #1 In G, BWV 1007 - 1. Praeludium
