Eric Siblin’s book “The Cello Suites: J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece” set me free. Siblin composes a history of Bach’s six Cello Suites that does not merely impart information, but cultivates a deep(er) appreciation for The Master and his masterwork that was nearly lost. Taking his cue from Bach, Siblin divides his book into six chapters (one for each movement) with their respective preludes, allemandes, courantes, sarabandes, minuets, bourees or gavottes and concluding gigues. He explains how, “Bach will occupy the first two or three movements of each suite. The dances that come afterward or earmarked for Pablo Casals. And the gigues that close each suite will be reserved for a more recent story . . . “ (p. 9) While this framework helps the reader capture the mood of each suite, the writer also (perhaps unwittingly) delivers history in a manner that helps the non-cellist grasp the experience of actually playing. The Chord, utilized by Bach thr...