Bach Cello Suite No1 - Prelude by Yo Yo Ma Review
In a crowded market place of recordings of the complete Bach Cello Suites, along comes another from Emmanuelle Bertrand (Harmonia Mundi). Hot on the tails of Rachel Podger'south highly acclaimed transcriptions for violin and Yo-Yo Ma's relatively recent 2018 release (reviewed hither), the catalogue brims with recordings from every major cellist of the past fourscore years including Paul Tortelier, Mischa Maisky, and Mstislav Rostropovich, but it was thanks to Pablo Casals that these masterpieces were elevated to the pedestal of highly revered jewels of the cello repertoire. Whereas many virtuosi favour the modern cello with its greater resonance, Bertrand performs on a baroque cello. At a lower pitch, with gut strings and an altogether different bow, she creates a lighter sound, still warm, but uniform in color across the range of the cello with impeccable intonation.
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The suites pose a challenge in producing interpretations which are communicative and perceptive whilst balancing the essence of a dance. They require a musician with deep insight into these very introspective pieces, explaining why every cellist sees these works differently. Some focus on the character of the trip the light fantastic toe, others the prevailing mood. Bertrand takes an expressive arroyo; these are not to be danced to, they are of the same aesthetic as Waltzes by Chopin — something to be admired, savoured, listened to and reflected upon. Bertrand, like Stephen Isserlis, seems to characterise each suite with a prevailing narrative.
In the First Suite, Bertrand has an evolving, meandering feeling, in which there is a relaxed approach to pulse and rhythm, whilst using some unusual phrasing. The prelude is unassuming, only soon loses its style, lacking climax. In the Sarabande (rails 4), the acoustics are used to dramatic effect, simply in doing and then the impetus is obscured. The 2nd Suite has an edgy, slightly aggressive quality, achieved through brisker tempos, notably in the Allemande and Courante. On reaching the 3rd Suite, the arroyo is complimentary-spirited, mystical perhaps. Though in the Sarabande (track 16), the rhythmic imprecision hinders the ability to sense the underlying pulse and stateliness. The Fourth Suite, less inhibited by the acoustics, has a similar feel to the Commencement only with greater spirit, the Courante and Bourrées being the most characterful dances (CD 2, tracks 3 and 5). Suite Five is darker, most foreboding but not making the about of the climaxes. The Sixth has the most trip the light fantastic toe-like qualities overall, simply not always with convincing balls.
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Bertrand achieves a personal reading in this cycle. Throughout, expressive multifariousness is restrained, articulation, homogeneous and dynamically constricted. With her rhythmic liberty, the essence of the trip the light fantastic becomes lost, obscured further by irregular phrasing. David Watkin gives a more than sophisticated reading, with all the intrinsic particular and a strong sense of movement of the dance. His tempos vary and diverge from Bertrand'south, only his attention to item engages to a deeper level. Watkin shows the spectrum of colours which can be achieved on a period instrument, with vivid contrasts, rhythmic vitality and a richness of tone that allow him to capture the essence of each motion.
The booklet includes a warming but brief interview with Bertrand and her journeying reconnecting with Bach, which feels personal and sincere. The ambient audio-visual of Notre-Dame de Bon Secours (Paris) provides a resonant acoustic and a sense of space for Bertrand's eighteenth-century cello, built by Carlo Tononi. Recording a solo cello poses many problems for the engineers. On this occasion, they have disappointingly misjudged the distance of the mics with highly noticeable inconsistencies across the album. In the 3rd Suite in particular, the acoustic becomes overly prominent, blurring the articulation of Bertrand's playing. At that place are many aural distractions from Bertrand likewise. Whilst at that place is no doubt of her engagement, excessive respiratory sounds become increasingly distracting through the latter suites, the Fifth specially.
Podger'south recording, made on a violin, is a worthy heed for its vision and clarity, peaking accordingly in suite No. half dozen. The range of the violin brings different textures, which puts a new perspective on these pieces. For a historical recording, it has to be Casals; A modern musical instrument recording — Isserlis, who'due south commanding, considered and perceptive interpretations accept a scholarly arroyo to authenticity. However, for the vibrancy and recording quality, Watkin is the undoubted forerunner of period-instrument performances available.
Bach – Cello Suites, No. 1-6 (Consummate)
Emmanuelle Bertrand – Baroque Cello
Harmonia Mundi, CD HMM 902293.94
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Source: https://theclassicreview.com/album-reviews/review-bach-six-cello-suites-emmanuelle-bertrand/
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