Perspective Ensemble
presents

Wendy Sutter, Cellist

THE SIX BACH SOLO CELLO SUITES

Livestreamed from Judson Memorial Church
New York City

Sunday, August 23, 2020

https://www.youtube.com/watch?v=fRVr0ttLvx4
https://www.youtube.com/watch?v=whhZ8JhWoR0


The Wall Street Journal calls WENDY SUTTER “one of the great…cellists of the classical stage”. She knocks this concert out of the park, to mix metaphors. The throaty notes of the cello combined with the amazing acoustics of Judson Memorial Church are a dream come true for Bach enthusiasts and anyone who loves music.

Two mics, two lights, multiple camera angles, no audience. Total silence but for the cello and its artistry at the hands of WENDY SUTTER. Gilded light through the stained-glass windows enhances what is truly a mystical experience. Listen and float away.

She begins with Suite No. 4 in E flat major, which is rich, deep, and has a tone of large-scale music. For example, E flat major is used in Beethoven’s “Eroica” symphony because of its distinctive, powerful sound. After the stunning Prelude, the Allemande is spritely and melodic. The Gigue is a big challenge to the musician, and SUTTER plays it to perfection without breaking a sweat. The tonal range demands stunning athletics on the part of the cellist, delivering an exciting feel to the listener.

Next, SUTTER chose Suite No. 2 in D minor. The minor key takes us to more serious emotions. Outstanding in this suite is the Courante, a demanding spree of sixteenth notes that thrill. The ending Gigue is lively and upbeat, defying its minor key to leave us on a happy note.

Last in Part I of the performance was Suite No. 6 in D major, which is beautiful and melodic to the point of dreamy. The longest of the six suites, its history is a bit mysterious. Surviving writings indicate that it is meant to be played on a five-string cello christened “Viola Pomposa”, which is slightly wider than a standard viola. The added fifth string is high E, usually a violin string, to add a more resonant sound. While it is lovely played on the modern four-string cello, one can’t help but wonder what it would be like on the five-stringed instrument.

Part II of the concert takes us to Suite No. 1 in G major. The Sarabande is sweet and simple in its sound but demands work on the part of the cellist. Bach was a genius, and expected the same of anyone who dared to play his compositions. Hands and fingers jumping up, down, and all around. SUTTER has the musculature of an Olympic athlete. She was flawless.

Again we change to the feel of a minor key, Suite No. 5 in C minor. The Sarabande is unusually stark and minimalistic. Ingmar Bergman used it to great effect in his 1972 film “Cries and Whispers”.

SUTTER concludes with Suite No. 3 in C major. The Allemande is playful in a dark way. The rest is, of course, a masterwork by both composer and cellist. At the end a few bow hairs made a break for it and flew back and forth playfully, as if they couldn’t contain their enjoyment.

Anyone who hears her play will understand that feeling. She is brilliant.

-Karen D’Onofrio-