Joseph Bentley, a distinguished music professor at the University of Rhode Island, performed a reimagined version of Bach’s “Cello Suite No. 6” entirely on electric bass guitar in his concert titled “You Can’t Do That!” on Saturday at the university’s Fine Arts Center.
Bentley’s rendition of the piece incorporated the modern electric bass, blending it with Bach’s intricate melodies while maintaining the essence of the original composition. At first, Bentley took on the challenge of using the double bass, the instrument traditionally associated with the work. While he managed to master larger sections, he encountered difficulty in executing certain parts, particularly in the prelude. This is where his experimentations on electric bass guitar began.
His passion for the piece began over two decades ago, sparking what he described as an “obsession” with the music.
“Every musician has the one piece – or a few – that they hear early on and feel compelled to learn,” Bentley said. “I listened to the entire [Cello Suite No. 6] on repeat for months. But just listening to it wasn’t enough for me. I needed to learn it. It became an obsession.”
Bentley’s approach was not merely technical – it was a personal and artistic transformation of the piece. One notable aspect of his performance included his use of two-hand tapping, a technique borrowed from rock and metal guitarists.
“I knew the prelude needed two-hand tapping to get the tempo I wanted, even though I could have gotten by without it,” Bentley said. “It’s the best way to make it work on bass. It’s part of how I made this piece mine. I didn’t want to play it like a classical guitar; I wanted to make it rock.”
Among audience members was 22-year-old Abby Marcotte, a South Kingstown resident who shared her perspective on the performance.
“As someone who plays guitar, it was engaging to see his deep understanding of the bass guitar,” Marcotte said. “Overall, the performance was highly impressive.”
This reflects Bentley’s broader artistic philosophy for the concert titled “You Can’t Do That!” which he contradicts.
“It’s about challenging the boundaries of what people think is possible,” Bentley said. “Bach was a genius, but he was also a human being. He broke the rules of his time, and I think he would have been curious about what we’re doing with music today. I’m not going to pretend to play this like something it’s not. I’m going to play it the way I know.”
Each movement of the suite reminded him of different bass players who influenced his musical journey, according to Bentley.
“As I play each movement, I think of different bassists who have inspired me,” Bentley said. “It’s a way of connecting the past with the present,”
The concert also featured a premiere of one of Bentley’s original compositions, adding another layer to the performance’s innovative spirit.
Bentley’s decision to perform the entire “Cello Suite No. 6” on electric bass is a rarity in the world of the bass guitarist, who generally performs isolated movements of the piece.
“I don’t know of any other bass players who’ve done the whole suite on the electric bass,” Bentley said. “I’ve seen some do a few movements here and there, but not the entire thing. That’s what made the performance special.”
The concert’s title was a nod to Bentley’s philosophy of artistic freedom.
“The point of the title is really simple,” Bentley said. “It’s about the idea that there’s no one way to interpret music. If Bach could break musical conventions in his time, why can’t we today?”
For Bentley, “Cello Suite No. 6” holds a deeply personal meaning.
“When I was 19 or 20 years old, I first heard the suite, and that’s when Bach started to sound human to me,” Bentley said. “Before that, he was a figure in a textbook. I want to humanize every composer. It’s not just about the technicalities of the music – it’s about you, about bringing people together through the music.”
In addition to this interpretation, Bentley’s performance highlighted a historical perspective on Bach’s work.
“In Bach’s time, there were no dynamic markings, no articulations in the music,” Bentley said. “You were meant to interpret it, Bach didn’t have the vocabulary for those things, so a lot of it was left to the performer’s creativity. Today, we have the freedom to do that, and I think Bach would appreciate an artist pushing boundaries with conviction.”
Bentley’s performance was not just about reinterpreting Bach; it was a statement on the evolving nature of classical music and the freedom of expression. Bach was the master of knowing what sounded good, but he also embraced new ideas that can be done today while still respecting the past, according to Bentley.
“Bach was the master of knowing what sounded good, but he also embraced new ideas,” Bentley said. “We can do the same today – respect the past while forging our own path.”
In the future, Bentley said he hopes to keep pushing boundaries with different styles of music and encourages other musicians to do the same.
