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| Disc: 1 | |||
|---|---|---|---|
| 1. Prélude | |||
| 2. Allemande | |||
| 3. Courante | |||
| 4. Sarabande | |||
| 5. Menuett I | |||
| 6. Menuett II | |||
| 7. Gigue | |||
| 8. Prélude | |||
| 9. Allemande | |||
| 10. Courante | |||
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| Disc: 2 | |||
| 1. Prélude | |||
| 2. Allemande | |||
| 3. Courante | |||
| 4. Sarabande | |||
| 5. Menuett I | |||
| 6. Menuett II | |||
| 7. Gigue | |||
| 8. Prélude | |||
| 9. Allemande | |||
| 10. Courante | |||
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One of the greatest things about the suites is that they are so flexible to player's interpretation and Tortelier makes this abundantly clear with the opening bars of the prelude to the first suite. His technique is astounding, precise, lyrical and beautiful. The music literally dances in novel and previously unimagined ways that blows me away every time I hear it.
Yo Yo Ma's extremely accomplished suites are lush and beautiful but sound flat, dull and unimaginative by comparison. Rostropovich's suites sound ham fisted, bullying the music out of the instrument without the dexterity or refinement of Tortelier. Even the god-like Casals would have to admit that Tortelier's account of this incredible music puts more depth into every note than even he could manage.
Buy this record. Buy it for anyone that has ever known the suites and especially buy it for anyone that already owns a copy by another 'cellist. Any 'cellist. If he recorded no other record in his lifetime this recording alone would mark him out as a genius. If each piece is a song then Tortelier turns them into Operas.
Don't take my word for it. Listen for yourself. I swear that afterwards you'll be compelled to write something similar here!
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