My main problem with lute and guitar transcriptions of the cello works is that they cannot sustain the voices as long as the cello can, but I agree that they add a new perspective. My two favorite recordings of the Cello Suites, which have diametrically opposed interpretations are these two:
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Lipkind is very grand and romantic, while Starker is more severely classical. The beauty of Bach's music is that it can usually withstand a wide array of interpretations.
Great stuff. I have the Starker SACD, as well as Zeller (MA Recordings), Maisky and Fournier...I find the Maisky and Fournier to be quiet fluid, free and romantic. Is the Lipkind more like either of these? I do like Bach with a certain element of 'academic' in it...Starker, Gould, Pletnev, even Suzuki. I also like very, very old-school players (Horowitz, Rosalyn Tureck, Lupu)...they remind me of my old piano teacher who had performed with Horowitz and was legendary in our music school...Madame Marcault. Bless her, she had 2 pianos in her living room, perfect pitch, spoke 7 languages and played perfectly well into her late 80s when I last saw her...still sharp as a tack.