The six Suites are today the musical bible of cellists, the work with which they touch the sky, the limit which marks their arrival to absolute maturity. And this is how Asier Polo also approaches it. His interpretation goes to the essential. It is modern and made from the knowledge of historicist criteria. It puts music and it's author before the performer. For a long time Polo had known he had to go to the core of the piece, stripping it of the guise that has covered it throughout the 80 years since the first recording. For this reason, he has dispensed with some resources related to color because he seeks the original value of the piece, it's foundation, without caring that such a vision places the performer in the background, as opposed to others that are much more personal. For a cellist, Bach is the destination. Once the interpretation of the six suites has been refined enough to record them, nothing is ever the same again. The rest of the music is no longer seen in the same way. Even fans do not see the same person playing them, because of the quality of the score and of the aura surrounding it.
5 Suite No. 4 in E-Flat Major, BWV 1010-Bourée I & II
6 Suite No. 4 in E-Flat Major, BWV 1010-Gigue
7 Suite No. 5 in C minor, BWV 1011-Prélude
8 Suite No. 5 in C minor, BWV 1011-Allemande
9 Suite No. 5 in C minor, BWV 1011-Courante
10 Suite No. 5 in C minor, BWV 1011-Sarabande
11 Suite No. 5 in C minor, BWV 1011-Gavotte I & II
12 Suite No. 5 in C minor, BWV 1011-Gigue
13 Suite No. 6 in D Major, BWV 1012-Prélude
14 Suite No. 6 in D Major, BWV 1012-Allemande
15 Suite No. 6 in D Major, BWV 1012-Courante
16 Suite No. 6 in D Major, BWV 1012-Sarabande
17 Suite No. 6 in D Major, BWV 1012-Gavotte I & II
18 Suite No. 6 in D Major, BWV 1012-Gigue
The six Suites are today the musical bible of cellists, the work with which they touch the sky, the limit which marks their arrival to absolute maturity. And this is how Asier Polo also approaches it. His interpretation goes to the essential. It is modern and made from the knowledge of historicist criteria. It puts music and it's author before the performer. For a long time Polo had known he had to go to the core of the piece, stripping it of the guise that has covered it throughout the 80 years since the first recording. For this reason, he has dispensed with some resources related to color because he seeks the original value of the piece, it's foundation, without caring that such a vision places the performer in the background, as opposed to others that are much more personal. For a cellist, Bach is the destination. Once the interpretation of the six suites has been refined enough to record them, nothing is ever the same again. The rest of the music is no longer seen in the same way. Even fans do not see the same person playing them, because of the quality of the score and of the aura surrounding it.
