In 2010 Marianne Dumas commenced a research project on the impact of posture, state of mind and breathing on the production of sound, always taking the Bach Cello Suites as her reference. Her research into the technique of playing the cello consequently took her to Berlin to gain a better understanding of the sound of the baroque cello, in collaboration with instrument makers and other experts specializing in the period. Shortly after her arrival in Berlin, Marianne made an important discovery that would dramatically change her perspective: what should have been only a minor exploration transformed into a major research project into the origins of the instrument and how it was played, which was followed by the recording of this new vision of the Bach Cello Suites. This recording of her edition of the Cello Suites constitutes for her a first and fitting culmination point in this exciting venture.
"Dumas plays with extraordinary virtuosity and expressive power, though the excessive rubato and brooding weight of Romantic interpretations are replaced by agile rhythms and a lightness of tone that is rare in cello music. Dumas also reverses bowing, in the manner of playing a viola da gamba, and this technique produces greater resonance than conventional bow strokes. Because she regards her work on the suites as a research project, Dumas has aimed at a more objective approach rather than a subjective reading, though her playing is by no means mechanical and her expressiveness still shines through in her artistic shaping of the harmony and the sound, though without Romantic gestures or self-indulgent moodiness." Blair Sanderson (read full review)
"I listened to the 6 Bach suites with pleasure. Very well done, I liked very much the resonance, intonation and the way of playing. Very convincing. A very good work and great success technically."
- Ton Koopman
(This text will soon be available in English)
“When I rediscovered the sound of the violoncello by reversing the bowing technique (with overhand bow hold), I decided to start a research and a recording project in order to explore and share this experience. I stayed as close as possible to the text and to the spirit of the dances, and played on the most authentic set up.
The sound was my guide. My goal was to reach a connection between the vibration of the violoncello and the harmony in order to let Bach's music speak.”