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Experience, virtuosity and individuality are all required when tackling J.S. Bach’s popular cello suites; Richard Tunnicliffe brings a lifetime of insight to his debut solo recording.
Richard has made a special study of Bach's cello suites and his performances of all six have been acclaimed in Europe and Australia as well as at numerous venues in Great Britain, including Wigmore Hall and the Purcell Room in London.
Richard’s recording of the complete cello concerti by John Garth with the Avison Ensemble was chosen as ‘Critic’s Choice’ by Gramophone, ‘Concerto Recording of the Month’ by The Strad and twice as ‘CD of the Week’ by Classic FM.
Richard Tunnicliffe’s broad experience and versatility mark him out amongst the best of today's impressive array of instrumentalists.
Richard has enjoyed a long and varied career at the forefront of Britain’s thriving period instrument movement and is a member of the renowned viol consort Fretwork and principal cello with the Avison Ensemble.
Richard has played with the Orchestra of the Age of Enlightenment, Boston Symphony, Frankfurt Radio S.O., City of Birmingham S.O., English National Opera, Scottish Chamber Orchestra, the London Mozart Players, The Gabrieli Consort and the Academy of Ancient Music.
Bach: Suite No. 1 In G Major, BWV. 1007
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Menuet 1 & 2
VI. Gigue
Bach: Suite No. 2 In D Minor, BWV. 1008
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Menuet 1 & 2
VI. Gigue
Bach: Suite No. 3 In C Major, BWV. 1009
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Bourree 1 & 2
VI. Gigue
Bach: Suite No. 4 In E-Flat Major, BWV. 1010
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Bouree 1 & 2
VI. Gigue
Bach: Suite No. 5 In C Minor, BWV. 1011
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte 1 & 2
VI. Gigue
Bach: Suite No. 6 In D Major (For 5 String Cello), BWV. 1012
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte 1 & 2
VI. Gigue
25th March 2012
“clear-sighted, intelligently informed yet emotionally engaged performances. His virtuosity in the faster movements is easy, though not casual, his degree of interpretative intervention gauged beautifully so that grandeur does not become grandiosity and the momentous sarabandes are reflective, not self-indulgent.”
May 2012
“Tunnicliffe never loses sight of these dialogues and you hear a different one each time you visit it. In fact, this is one of the beauties of the disc...the warmth of Tunnicliffe's tone and self-evident, painstaking thought behind every phrase can bring you closer to this beautiful music. In fact, this intellectual connection with the music is the strongest selling-point of Tunnicliffe's recording...He also brings to it the soaring joy it needs.”
June 2012
“It is the thoughtfulness and absence of overbearing rhetorical posturing that makes Tunnicliffe's clear-sighted and unexaggerated approach seem totally convincing...[Suite No. 6] is a fitting culmination to a vivid, sometimes reflective but above all personally involving cycle in which the unfettered joy of musical rediscovery is given free rein...His music notes, by the way, are quite as fascinating and informative as the performances themselves.”
Asugust 2012
“a splendid performance from Richard Tunnicliffe that is certainly worthy of very close scrutiny indeed. Robust, rounded, resonant, rich and quietly perceptive, it captivates from the first bars...his unassuming yet undeniable insight into this great music...make[s] this a recording to get to know and enjoy alongside the established milestone CDs.”
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I. Prelude
