Johann Sebastian Bach was the first to reveal the full potential of the cello, previously regarded uniquely as an element of accompaniment, as a solo instrument. Not only does the cello encompass both the bass and the tenor ranges, and can climb up to dizzying heights; moreover, it bears a remarkable resemblance to the human voice. The cello can sing, rejoice or lament quite like the human voice, a trait that renders it particularly close to our hearts. With his series of six cello suites, Bach created something entirely unprecedented, and indeed revolutionary: a work which had such  subsequent impact on music for this instrument that another comparably daring transformation had to wait until the time of such 20^th0-century innovators as Kodály or Britten. Compared with the composer´s series of solo partitas for violin, the ones for cello are conceived in a more traditionsl style. They are identical in terms of structure, modelled on a pattern with a prelude followed by four two-part standard Baroque-suite dances (allemande, courante, sarabande, jig), between which Bach interposed a minuet, a gavotte, or a bourrée. The cello´s combination of deep bass pitch and tenor range throws into relief Bach´s art of condensing several voices within a single solo line. While these suites were probably written for educative purposes, their virtuoso qualities, emotional wealth and air of intimacy has earned them a safe place in the repertoire of all present-day concert players.       

                                                                                                 sleeve-note: Dita Hradecká / translation: Ivan Vomáčka