In volume one of this set you recorded the First, Third and Fourth Suites, all of which are in a major key. This has left us with an emphasis on minor keys in volume two, the often dramatic sounds of the Second Suite set against the darkness of the Fifth. Was this a conscious choice?
My choice in the order of the suites was a conscious, but not an absolute one. I enjoy playing the third suite after the first whereas the fourth is somehow a bit more remote from the two of them. The same is true for the second CD with suites 2, 5 and 6. The sixth one is even composed for another type of cello. Also, I wanted to start recording with the first suite and end with the sixth. The sixth and last of the cello suites is a new start in itself. It buzzes with youthful energy, with new depth and structural dimensions; an open end and a new beginning at the same time. Bach the inventor and researcher found a new way to compose for a melodic solo instrument in this sixth suite, creating something more developed and rich in a virtuosic way but also with a broader compositional structure. I wanted the first and the sixth to be the pillars of these CDs. Looking closer at the minor-key suites, I do feel connection between the second and fifth: that the second suite has a dramatic but agile movement throughout, always with a bright light at its horizon. The fifth suite is also a larger composition, and with its incredible four-voice fugue is dramatic too but darker in its tuning.