The superstar cellist’s performance from last week at the BBC Proms can still be streamed here:
David Karlin gave Ma a five-star review on Bachtrack:
One man. Four strings. Thirty-six dance movements. Five thousand listeners, perfectly hushed, many of them having queued for hours and rushed to fill the promenade space of the Royal Albert Hall as soon as the ushers let them out of their starting blocks. Yo-Yo Ma’s late night Prom – a performance of all six of Bach’s unaccompanied cello suites – was an eagerly anticipated event and a giant undertaking. Many of the audience were cellists (two and half hours of unaccompanied cello is a tall order for anyone else) and the atmosphere in the hall was electric.
Alexandra Coghlan at The Arts Desk:
This humility serves Ma well in music that holds a mirror up to any performer, exposing affectation or excess just as clearly as coldness or humourlessness. His Bach is intimate but not introverted, free and improvisatory in spirit but meticulously prepared and understood. He began as he meant to go on, with a G major Prelude so casual and direct it was as though we were joining a conversation in mid-flow. It was the only possible start to a musical epic – just the right degree of bathos, reminding a crowd bedding down for a long evening of serious music of the wit and overflowing good humour also be found here.
John Allison at The Telegraph:
Post-concerto encores drawn from these suites are, of course, common at the Proms, but this was the festival’s first complete performance. The bucolic Prelude to the Suite No. 1 in G major signalled what was to come, a performance full of dynamic shading and carried on warm tone quivering with life. The solemnity with which he placed the low, phrase-ending notes in the Sarabande pointed towards the evening’s more profound moments, several of them encountered in the tragic-sounding D minor suite, though even here he found wild abandon in the closing Gigue.
From George Hall’s review
During a magisterial survey of these complex, subtle compositions, Ma’s attention to detail was as notable as his grasp of the bigger picture. The playing was at times tender and introverted, at others bold and sonorous. Throughout, Ma held the measure of Bach’s organic, largely abstracted dance movements and unfolded them before the audience in a way that was intellectually satisfying and heartfelt.
MEMETERIA by Thomas May 