‘These are the cellist's Everest, and Isserlis has waited a long time to commit them to disc: his superb interpretations now put him in that great line of cellists that stretches back to Casals’ (The Independent)

‘The Bach Cello Suites are the Everest to be conquered by every cellist, and the latest assault has been made by Steven Isserlis, with triumphant success … with this cellist's ability to catch exactly the rhythmic movements and contrast them with the steady beauty of the slow passages, this is a specially fine account’ (Liverpool Daily Post)

‘In a radically organic approach, Steven Isserlis takes the works back to their meditative core … the inner voice is on the whole wondrously refreshing, laced with flashes of wit and dazzling insight. I am still finding surprises on third hearing’ (The Evening Standard)

‘It has taken him years to face up to the monumental challenge that is the Bach Cello Suites, but Steven Isserlis comes up trumps in a deeply intelligent traversal with a tremendous emotional pay-off’ (FirstPost.com)

‘Isserlis has done the impossible. He has given the listener something new, and indeed something outstandingly good … this recording can sit proudly on the shelf alongside the great recordings of Casals and Rostropovich. In fact, I may find myself picking it up as the favourite’ (bbc.co.uk)

‘A beautiful, absorbing, must-have set of performances, with some delightful little add-ons, notably Sally Beamish's exquisite arrangement of a Catalan folk song, included by Isserlis as a homage to Pablo Casals. This will be a record of the year’ (The Herald)

‘Isserlis's dance-movements, particularly the jaunty Gigues, have a verve that is often missing from the 'classic' performances, and his Sarabandes, most of all the sublime 'Crucifixion' of No 5, are serene moments of repose and reflection in these thought-provoking and magnificently played accounts of these corner-stone works’ (International Record Review)

‘His vibrato-light tone is soft-grained but seems infinitely malleable. He can dance with the grace of perfect strength and physique, and sing plaintively, or from the heart, or in celebration, as if it were the most natural thing in the world for him. In short, he's brought off that most remarkable of feats: making Bach's six great cello suites sound as if they might well have been written for him. This is unmissable music-making’ (The Irish Times)

‘These performances grab you with their intimacy and full-bodied embrace, their simple dedication and emotional truthfulness—an elusive juxtaposition of opposites that Isserlis captures better than most. You never sense he is playing for mood or effect—dynamic and expressive contrasts are modest—but he brings wonderful vigour and connectedness to the dance-like figurations. The sound makes you feel Isserlis is sitting four yards away, not just enjoying himself but also completely bound up in the technical and quasi-improvisatory challenges of Bach's world’ (Financial Times)

‘Thoughtful, respectful, inspirational playing, a perfectly-placed recording, stimulating notes … this is a fine achievement’ (BBC Radio 3 CD Review)

‘This is the most wonderful cello-playing, surely among the most consistently beautiful to have been heard in this demanding music, as well as the most musically alert and vivid … few will fail to be charmed by Isserlis's sweetly singing tone, his perfectly voiced chords and superb control of articulation and dynamic—the way the final chord of the First Prelude dies away is spellbinding. There are so many other delights: the subtle comings and goings of the Third Prelude, the nobly poised Fifth Allemande, the swaggering climax into the Sixth Gigue—I cannot mention them all. Suffice to say that Isserlis's Bach is a major entrant into an already highly distinguished field, and a disc many will want to return to again and again’ (Gramophone)

‘This set marks a significant addition to the Christopher Herrick Bach archive and is a further manifestation of the happy collaboration between the artist and his excellent recording team’ (Organists' Review)