The Six Suites for Unaccompanied Cello by Johann Sebastian Bach BWV 1007-1012, are undoubtedly the most popular solo compositions ever written for the instrument. Today, because of its great popularity among classical performers are often presented and recorded by virtuous cellists who seek, in this work, an expected recognition in their careers. These compositions imposes itself as a kind of test in the Masterclasses, important to the musician because of the enormous difficulties presented to its interpreters. They were probably composed during the period 1717-1723, when Bach served as Chapel Master (Kapellmeister) in Cöthen. 

These suites incorporate a wide range of melodic attributes of the Lutheran liturgical ornaments and other techniques derived from mathematical Bach’s musical mind of a wide range introspective. It is their intimacy, however, that has made the suites amongst Bach’s most popular works today, resulting in their different recorded interpretations being wellness fiercely defended by their respective admires. It is their intimacy, however, that makes the suites, the works of Bach more widespread in our times, resulting in their different recorded interpretations, each with a version as that advocated the “master singer of St. Thomas” would have admitted as perfect in terms of technique and instrumentation, as, the presentation that resulting in the Reference Recording. The suites were not world-famous as works completed composing a cycle until the beginning of last century, because it was thought the case studies unfinished, or exercise stimulus produced by Bach.

In 1890 a Catalan whiz kid of 13 years, who came to become the cellist and conductor Pablo Casals, finds in a thrift store in Barcelona the Grützmacher German edition of the Bach Suites, starting to study them thoroughly. The suites, matured, like fine wines, in intellect, technique, and art of Casals for 35 years after its discovery, when the artist in 1925 to 48 years old, decided to present to the world his version. However, his recordings and pressings of shellacs, has waited eleven years to be released, so, only in 1938 after 50 years of its discovery the label The Gramophone Company Limited, England, “His Master Voice” (HMV) through its subsidiary French “La Voix De Son Maitre” (LVDSM) released the album of 78rpm shellacs, recorded from the Headquarters in London on November 23, 1936 2EA numbers in 4476-4485, the shellacs carried in February 1938 under number 3399-3401 DB, and, the matrices recorded in Paris on June 2, 1938 under numbers 2LA 2583 to 2588, the shellacs carried in December 1938 under number 3671-3673 DB. 
The transfer to the LPs (re-mastering) was performed in France by (LVDSM) Great Recordings of the Century in Serie Les Gravures Illustres, catalog numbers COLH 16/17/18, as well as in parallel in England through the labels HMV (for the English market) and Angel (for the U.S. market) both in 1957. In this major contribution to the history of music, Pablo Casals, a posthumous tribute to the great musician, was the mentor and director of annual festivals that have passed the towns of Prades and Perpignan in the Pyrenees, these festivals that took his name, started from the bicentennial, which showed up in the middle of last century, the greatest figures of world classical music scene at the time. – Saulo Zucchello