2012 - Present

The Six Bach Suites

Performing the Six Suites as a whole many times with Bach in the Subways in his effort to “bring Bach, and by extension, classical music, to as many people as possible” (New York Times), Dale Henderson offered the first concert performance of this demanding program in New York City in 2012. Further developing his performance through subsequent concert appearances, most recently to a standing room only crowd at DePauw University in August of 2016, Henderson takes his audience on an epic musical journey by sharing stories about the Suites, about Pablo Casals’ role in revitalizing this amazing music, and about his own experience watching Bach in the Subways flower across the world. Now various organizations creatively adapt Henderson’s original program to showcase both Henderson’s Bach as well as the spirit behind Bach in the Subways.



From the Audience

“Henderson knows plenty about how to get the general public's attention with extraordinary Bach. ...well-executed ideas applied consistently and with love to the works' immense variety of texture and expression.” Jay Harvey
“Dale is one the most naturally gifted musicians I have known. …as a soloist [he] truly stands apart… I would especially mention his solo Bach.” Alan Fletcher, President and CEO of Aspen Music Festival and School
“A heroic performance!!! And that is an understatement. I walked into this with my expectations a bit tempered. Having all but memorized Rostropovich’s performance of all the suites, I had set quite a lofty benchmark. Dale did not disappoint. His mastery and familiarity of the suites are at once apparent. He’s clearly toiled with the suites for countless years, and boy, has it paid off. This was one of the most rewarding live performances I’ve ever had the honor to attend.” Vlad Shagoyan
“Every single note in those six suites was played with intention and tenderness. So fabulous.” Melanie Rothschild
“This was my first classical music concert. What a memorable experience! The music touched me.” Citalie Gallegos
“I was startled by the suites, especially the C minor. The Prelude has such unexpected passion: both the Allemande and the Courante were so “vocal” – it seemed one was hearing a human being expostulating or expounding – “Listen to me, don’t you get it?” (That’s not to diminish the C Major, especially the rumbustious Gigue!)” John Bonavia