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This was not the preparation I was looking for before seeung Yo-Yo Ma play all six suites at Tanglewood. Like so much about the arts, it’s more about the story behind the art rather than the art itself. In this case, it is split between the composer and its first primary performer, Pablo Casals. The chapters that focus on Casals (spread throughout the book in the common keep-all-the-balls-in-the-air approach) are more interesting than the ones on Bach primarily because not much is known about Bach and, therefore, Siblin feels compelled to do too much with the little we know. And there’s too much about the author for my taste. It’s not a bad book, but I found myself skimming a lot.