Johann Sebastian Bach (1685-1750)
Complete Cello Suites
1-6.    Suite n°1 in sol majeur / G major / G-dur BWV 1007
7-12.   Suite n°2 in ré mineur / D minor / d-moll BWV 1008
13-18. Suite n°3 in ut majeur / C major / C-dur BWV 1009

1-6.   Suite n°4 in mi bémol majeur /E flat major / ES-dur BWV 1010
7-12.  Suite n°5 in ut mineur /C minor / c-moll BWV 1011
13-18 Suite n°6 in ré majeur / D major / D-dur BWV 1012
2 CD, 1 DVD, 130' / 2007

When Bach revels in the obligation to set out his harmony in melodic tems (in other words, to have the cello ply successively each note of what would have been a single chord on the keyboard), the result is one of the supreme monuments of chamber music; when Jean-Guihen Queyras revels in this "irresistible vitality" on his Gioffredo Cappa cello of 1696, the result is one of his most inspired recording.
Bonus DVD: a complete filmed performance of the Third Suite and a behind-the-scenes documentary on the making of this set.

10/10 on Classics Today
"Queyras possesses an all-encompassing, supple, and effortless technique equal to Truls Mørk's, yet he avoids the latter's arch and self-conscious tendencies. In fact, the array of colors and articulations Queyras obtains always bypass the instrument en route to the music. The Sixth Suite is a good example. Because the work's notoriously high-lying tessitura poses no problems for Queyras, he can sustain the Sarabande with whispering deliberation or, by contrast, make the Gavottes lighter and more bracing than usual. The latter also applies to the E-flat suite's Gigue and the C major's zesty Bourées. In Queyras' hands, each Suite's opening Prelude amounts to a master class in how to intelligently scale dynamics and inflect a basic pulse with a sense of proportion and controlled freedom, such as in the D minor Prelude's insidious build. An ideal church acoustic and Cécile Lenoir's sensitive engineering make Queyras' Bach all the more recommendable." More...