There is an Icelandic saying, “mergur málsins”, which directly translates to “the marrow of the matter,” and these Suites, to me, speak directly to the essence of being human. As for many cellists, these Suites have been my steady companion throughout my life with the cello, first as a vehicle to learn counterpoint, style, and harmony, then as material with which to explore personal expression and interpretation, and today they are a mirror, reflecting the deeper truth of the human experience, revealing more layers of meaning each time I come back to them. 

As far as we know, these Suites were not written for the church, and by 1720, they were not written for people to actually dance to, but rather as forms with familiar rhythms and style. In contrast to the Violin Sonatas and Partitas which were written around the same time, the Cello Suites each have the same movement structure, which includes a Prelude and two pairs of dances (Allemande and Courante, Sarabande and Gigue) with an added “wildcard” of pairs of Menuets, Gavottes, or Bourées. Rather than hindering expression, this structure seems to enable more creativity to flow, as Bach pushes the boundaries of the expressive and technical possibilities of the instrument with each succeeding Suite.

During the heart of the pandemic of 2020, I found comfort and refuge in these Suites. As I began to play them not just individually but as a set, an arch started to emerge, a true hero’s journey: starting with the innocent 1st Suite in G major, the first taste of bitter disappointment in the d minor 2nd Suite, a renewed optimism in the 3rd Suite in C major, the bold and brash 4th Suite in Eb Major, the dark tragedy of the 5th Suite in C minor, and finally the glorious redemption of the 6th Suite in D Major. My hope in presenting these Suites without repeats is to more clearly illuminate this arch of their presented order so that we may more closely follow this universal storyline.              
-  Sæunn Thorsteinsdóttir

Disc 1: 39:08
1-6). Suite No. 1 in G major,
BWV 1007
Prelude 2:43
Allemande 2:36
Courante 1:28
Sarabande 1:46
Minuet I / II 2:10
Gigue 1:06

7-12). Suite No. 2 in D minor,
BWV 1008
Prelude 3:44
Allemande 1:43
Courante 1:07
Sarabande 2:35
Minuet I / II 1:50
Gigue 1:29

13-18). Suite No. 3 in C major,
BWV 1009
Prelude 3:54
Allemande 2:10
Courante 1:44
Sarabande 2:24
Bourrée I / II 2:36
Gigue 1:55

Disc 2: 51:11
1-6). Suite No. 4 in E-flat major,
BWV 1010
Prelude 3:56
Allemande 2:17
Courante 2:03
Sarabande 2:28
Bourrée I / II 3:21
Gigue 1:31

7-12). Suite No. 5 in C minor,
BWV 1011

Prelude 6:40

Allemande 3:06

Courante 0:59

Sarabande 2:09

Gavotte I / II 2:55

Gigue 1:22

13-18). Suite No. 6 in D major,
BWV 1012

Prelude 4:39

Allemande 3:41

Courante 2:05

Sarabande 2:40

Gavotte I / II 2:44

Gigue 2:26

Total Time:
Disc 1: 39:08
Disc 2: 51:11

Release date: June 23, 2023
UPC: 053479226303

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Quotes & Reviews

“Suite No. 1’s arpeggiated opening is nicely unaffected, the closing “Gigue” a joyous stomp. Which makes Suite No. 2’s D minor opening all the more potent, Thorsteinsdóttir’s “Prelude” very dark indeed. Suites 3 and 4 are joyous – the former’s “Sarabande” really sings, and No. 4’s “Courante” skips along.  Keep the disc playing and you’ll relish the 5th suite’s drop into C minor. Thorsteinsdóttir’s opening movement unfolds like an operatic aria, the theatricality wholly appropriate. No. 6 offers much-needed emotional relief, the final gigue a consolatory hug. Sono Luminus’s engineering is up to their high standards, the sound rich and immediate. Recommended.” - Graham Rickson, The Arts Desk

“The performance is exhilarating and makes  for a satisfying, if intense, listening session.” - David Olds, The Whole Note

“Anyone who wants to hear these masterworks in the best sound, exquisitely played and shorn of repeats – and thus perhaps more digestible and concentrated to suit a modern sensibility more inclined to appreciate the virtues of brevity – will find this issue ideal.” - Ralph Moore, Music Web International

“As a solo presentation, Thorsteinsdottir's pure, vocal-like tone is front and centre, and her dexterity on the instrument lets the music sing, whether it be an expression of joy or sadness. The “Prélude” that initiates the Suite No. 4 in E-flat major, BWV 1010 and its “Courante” are particularly striking, and her riveting renditions of the fourth's plaintive “Sarabande” and fifth's stately “Allemande” are affecting too. Being the final one in the series, the Suite No. 6 in D major, BWV 1012 holds a special status. While the bountiful “Prélude” and acrobatic “Courante” dazzle, its supplicating “Sarabande” pierces the heart.” - Ron Schepper, Textura

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