The Six Bach Suites

Performing the entire Six Suites extensively for Bach in the Subways in the effort to “bring Bach, and by extension, classical music, to as many people as possible” (New York Times) Henderson premiered his first recital performance of this demanding program in New York City in 2012.

Further developing the performance through numerous concert appearances including engagements at Leipzig Bach-Archiv’s Bachfest, Henderson skillfully takes his audience on Bach’s epic musical journey. Various organizations creatively adapt the program to showcase both Henderson’s Bach and the inspiring story of Bach in the Subways’ growth from a single cellist in New York into a worldwide music movement.



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