Of all the recordings of the Bach Cello Suites, since Pablo Casals rediscovered the suites at the end of the nineteenth-century, remarkably few are by women. Perhaps women have been hesitant to enter what has hitherto been a very male-dominated sphere for fear of being branded comparatively unfit for the epic task. Of course, Nina Kotova stands out for more than just her gender, but that she is one of a handful of women since Jacqueline du Pré (suites 1 & 2, 1962) to record the suites is astonishing. Although relatively young, the Russian-born cellist has racked up an impressive CV, giving her first solo performance with orchestra aged only 11. Kotova’s recording demonstrates a raw emotion and gutsiness belying the angelic portrait photo on the CD cover, and an intelligence that could only be possessed by the most worldly-wise musician. She plays with intention and precision, and enviable virtuosity especially apparent during the Suite number 6 in D major. Interestingly, Kotova plays the Du Pré Stradivarius, formerly played by du Pré herself. Kotova’s tone is rich, earthy and warm, and her recording of the Bach Cello Suites stands proudly beside those of Casals, Rostropovich, and of course du Pré.

Alexandra Mathew