THE *ULTIMATE* recording o Bach 'cello Suites
Philomena Connolly
: The ultimate recording of Bach 'CEllo Suites?
If you want a recording played on a modern instrument, try the set by
Pierre Fournier on Deutsche Grammophon. This is the one I keep coming
back to.
--
Phil C.
phil...@iol.ie
Eric S. Schubert
Maurice Gendron on Phillips. Gorgeous tone with a performance that will
haunt you.
Keith Baird
>The ultimate recording of Bach 'Cello Suites?
>
>>Any suggestions would be MUCH appreciated.
Look no further. Heinrich Schiff on EMI, CDS-7474718 (or CDCB-47471
in U.S. only).
--/<eith
James C Liu
>The ultimate recording of Bach 'CEllo Suites?
>Recently I've been loking to buy one.. Something that the orchestra
>commissions, and college juries would find the interpritationcorrect
>(though I DO preffer my own).
Why? Are the orchestras and juries listening for you?
>Is that Rostropovich recent one extremely good? I'm a little reluctant to
>buy it because the sticker on the CD cites a review from the New York
>Times, but it says nothing about the recording, rather talks about that
>"These are the greatest pieces ever....", and "one of the best 'cellists
>in the last 35 years".. (By the way: who died 35 years ago?)
I've been delving into the Rostropovich set slowly. I very much like
what I've heard -- that characteristic rich tone, a Romantic sensibility
which manages at once to be lush and austere, and careful building of
tension and phrase. Very thoughtful playing, and utterly haunting in the
Sarabande of the 2nd Suite ... makes me think of the viol music of
Marais.
Pau Casals died 35 years ago. The first recording (1930's, EMI) and,
for these ears, still the finest. Not conventional, loaded with intonational
and technical slips, but filled with a lifetime of exploration and living and
music making. Loaded with riches, and a set that many a performing cellist
speaks of in reverential terms. For good reason.
--
/James C.S. Liu, MD "Computers in the future may weigh no more
jl...@world.std.com than 1.5 tons."
Department of Medicine -- Popular Mechanics, 1943, forecasting the
New England Med Ctr, Boston MA relentless march of science
Matthew B. Tepper
>
>The ultimate recording of Bach 'CEllo Suites?
>
>
>Recently I've been loking to buy one.. Something that the orchestra
>commissions, and college juries would find the interpritationcorrect
>(though I DO preffer my own).
>
>buy it because the sticker on the CD cites a review from the New York
>Times, but it says nothing about the recording, rather talks about that
>"These are the greatest pieces ever....", and "one of the best 'cellists
>in the last 35 years".. (By the way: who died 35 years ago?)
I imagine the critic arbitrarily drew a line at 1960 as the point where
Casals' technique really started to go.
--
"Opera is when a guy gets stabbed in the back and instead of bleeding
he sings." -- Ed Gardner
Matthew B. Tepper du...@deltanet.com CIS: 71031,2415
Visit my Berlioz page! http://www.deltanet.com/users/ducky/index.htm
Jetta
>The ultimate recording of Bach 'CEllo Suites?
>Recently I've been loking to buy one.. Something that the orchestra
>commissions, and college juries would find the interpritationcorrect
>(though I DO preffer my own).
>Is that Rostropovich recent one extremely good? I'm a little reluctant to
>buy it because the sticker on the CD cites a review from the New York
>Times, but it says nothing about the recording, rather talks about that
>"These are the greatest pieces ever....", and "one of the best 'cellists
>in the last 35 years".. (By the way: who died 35 years ago?)
>Any suggestions would be MUCH appreciated.
>Leo
I own the Casals and the DuPre. As much as I appreciate both artists,
I can't recommend either one. Both are rather dry performances. I
have heard the Yoyo Ma and performance wise it is excellent. I heard
it on the radio so I can't vouch for the recording quality, though.
W. Satterthwaite
>The ultimate recording of Bach 'CEllo Suites?
>Recently I've been loking to buy one.. Something that the orchestra
>commissions, and college juries would find the interpritationcorrect
>(though I DO preffer my own).
>
>Is that Rostropovich recent one extremely good? I'm a little reluctant to
>buy it because the sticker on the CD cites a review from the New York
>Times, but it says nothing about the recording, rather talks about that
>"These are the greatest pieces ever....", and "one of the best 'cellists
>in the last 35 years".. (By the way: who died 35 years ago?)
>Any suggestions would be MUCH appreciated.
Bach's original manuscript for the Cello Suites has been
lost, and both surviving sources (Kellner and Anna Magdalena)
are dubious copies. Most editions of the Suites derive from the
latter, which is peppered with (at best) very awkward and/or (at worst)
wildly inconsistent bowings. Most concert cellists start with
'the notes only', and create their own bowings, phrasings and dynamics.
Therefore, the Suites are among the most personal musical statements
a cellist can make, and each effort is, in effect, unique.
There is no ultimate recording, and I would suggest that, as
a beginning, you pick a cellist you admire for recordings of other
works. Consider any prejudices you have about modern/period performances
if you wish. Stir, and sample...happy listening!
Modern recordings I've sampled:
Casals: Casals popularized the Suites, and the cello world
has never been the same since. His recordings of
the Suites were unsurpassed in his day. Solidly
in the modern/romantic camp. Sound is about what
you'd expect for the late 30s.
Fournier: One of my favorites; highly poetic, beautiful tone
and _very_ elegant. Available DG mid-priced.
Gendron: I have this on an old vinyl release. Even more
refined than Fournier, somewhat dry metronomic
playing, with ravishing fast French vibrato and
trills. I've heard that the remastered CD sound is
fairly good; anything must be better than the sound
on my vinyl release. I believe now available Philips
2-fer.
Starker:Possesses a superb, almost superhuman technique.
Coupled with a unique tone and extraordinary musical
reserve and refinement, I find his earlier recording
(made in 1964, I believe) very dramatic, but less
satisfying musically than some of the other issues.
Haven't heard his more recent release.
Ma: Romantic, expressive modern interpretation. Good
sound. I believe Ma used the same cello for this
recording as Fournier used in the DG release.
Maisky: Romantic, quirky, brilliant playing; probably of-
fensive to purists, but surprisingly effective
at separating voices.
Harrell:Brings out some aspects of the original style bowing
(in general, more detached notes), but, otherwise, a
thoroughly modern interpretation. His playing of
the prelude of the 2nd Suite is peculiar, to say the
least. I'm an admirer of Harrell, but I have to say
this was a disappointment for me.
Rostropovich: I have only an incomplete set of recordings
(bootleg?) which came out in the early 80's, and
found them to be pedestrian. Haven't heard his
recent release, but surely it must be better.
Be assured his interpretation will be thoroughly modern,
/romantic.
Period recordings:
d'Harnencourt: I have this on an old MHS release. Played on
an instrument set up in the style of the time of Bach.
Tuned to pitch thought to be common then (about 1/2
tone flat). Interesting recording...though it doesn't
do much for me. Both the sound of the cello and the
pitch put me off. But this was, I believe, the first
attempt at a period-style recording of this music.
Bylsma: Made two recordings. I have the earlier (late 70's).
Bylsma is a fabulous, eccentric cellist who extended
the language and performance of the period movement.
This is probably the most idiomatic performance of the
Suites I have heard. One might argue that there's
more Bylsma here than Bach. Haven't heard his later
recording. He uses a 5-string cello piccollo for the
6th Suite. Period pitch.
Crossover:
Schiff: Uses a modern cello, and a mix of modern and period
bowings, with modern concert pitch to create what
I feel is a revelation in Bach interpretation. Schiff
uses some of the clipped, 'swelly' period phrasing that
usually puts me off. Unfortunately, a full-priced EMI
issue that can be hard to find.
There are other releases out there which I haven't heard. I realize
my thumbnail descriptions are my personal impressions, wildly incomplete.
YMMV!
Bill
James C Liu
Many thanks to Bill for providing an insightful and reasonably thorough
survey. Just a few comments on recordings from me ...
> Bach's original manuscript for the Cello Suites has been
>lost, and both surviving sources (Kellner and Anna Magdalena)
>are dubious copies. Most editions of the Suites derive from the
>latter, which is peppered with (at best) very awkward and/or (at worst)
>wildly inconsistent bowings. Most concert cellists start with
>'the notes only', and create their own bowings, phrasings and dynamics.
>Therefore, the Suites are among the most personal musical statements
>a cellist can make, and each effort is, in effect, unique.
> There is no ultimate recording, and I would suggest that, as
>a beginning, you pick a cellist you admire for recordings of other
>works. Consider any prejudices you have about modern/period performances
>if you wish. Stir, and sample...happy listening!
> Modern recordings I've sampled:
> Casals: Casals popularized the Suites, and the cello world
> has never been the same since. His recordings of
> the Suites were unsurpassed in his day. Solidly
> in the modern/romantic camp. Sound is about what
> you'd expect for the late 30s.
As noted, he was in his 60's by the time he got to these, and the
intonation had already begun to slip. They are big-hearted performances,
though, with the accumulation of a half a century of playing and studying
these works. There are issues in better sound than the recent EMI CD
reissues, but they're the only business in town. Still my favorites,
especially for the 5th and 6th Suites.
> Fournier: One of my favorites; highly poetic, beautiful tone
> and _very_ elegant. Available DG mid-priced.
> Gendron: I have this on an old vinyl release. Even more
> refined than Fournier, somewhat dry metronomic
> playing, with ravishing fast French vibrato and
> trills. I've heard that the remastered CD sound is
> fairly good; anything must be better than the sound
> on my vinyl release. I believe now available Philips
> 2-fer.
They have been reissued on a Philips DUO twofer, in extremely good
sound. Does sound metronomic to me, too.
> Starker:Possesses a superb, almost superhuman technique.
> Coupled with a unique tone and extraordinary musical
> reserve and refinement, I find his earlier recording
> (made in 1964, I believe) very dramatic, but less
> satisfying musically than some of the other issues.
> Haven't heard his more recent release.
The recent release is a reissue of his 1960's stereo cycle made for
Mercury; I don't know of a recent rerecording. Starker has phenomenal
technique, perhaps too good, for sometimes it sounds like he plays on
autopilot, relying on the strength of his technique to carry it through.
That's a pity, because he is capable of being a phenomenal musician, and
has an edition of the Suites to his credit. I find him at his best in
the minor key Suites. I heard him play the suites in recital in New York
a few years back. Largely disappointing, with the sound of a titan of the
cello going through the motions. But there were moments (Prelude to Suite
#2, Sarabande of Suite #5, all of Suite #3) where the old fire came out.
Final verdict: good sound on the set, not always the most imaginative
playing.
> Ma: Romantic, expressive modern interpretation. Good
> sound. I believe Ma used the same cello for this
> recording as Fournier used in the DG release.
I thought Ma did most of his playing and recording on the Strad that
Jacqueline duPre owned for her all-too-short career. He has rethought
this music carefully since making that first recording, and gave a
dazzling recital of the six suites in one night at Carnegie a few years
back, with touches that recall the art of Segovia (hushed pianissimos)
and Casals (broad, free approach to tempo, large-scale phrasing, etc.).
I wish Sony would see fit to do a digital remake!
> Maisky: Romantic, quirky, brilliant playing; probably of-
> fensive to purists, but surprisingly effective
> at separating voices.
> Harrell:Brings out some aspects of the original style bowing
> (in general, more detached notes), but, otherwise, a
> thoroughly modern interpretation. His playing of
> the prelude of the 2nd Suite is peculiar, to say the
> least. I'm an admirer of Harrell, but I have to say
> this was a disappointment for me.
> Rostropovich: I have only an incomplete set of recordings
> (bootleg?) which came out in the early 80's, and
> found them to be pedestrian. Haven't heard his
> recent release, but surely it must be better.
> Be assured his interpretation will be thoroughly modern,
> /romantic.
Rostropovich recorded the 2nd and 5th Suites at two past points in his
career; he currently regrets having done so. I like what I've heard of
his current cycle, recorded again after a lifetime of pondering and
studying this music. Rich, lush tone, and a Romantic approach, but not
as over-the-top as one might expect, and some truly haunting effects.
The laserdisc edition includes spoken introductions on the suites, with
Rostropovich providing some insights on major salient features of each
suite, illustrating with musical examples (including a chunk of the
Fantasie-Impromptu!) on piano. Fascinating and rewarding listening.
> Period recordings:
> d'Harnencourt: I have this on an old MHS release. Played on
> an instrument set up in the style of the time of Bach.
> Tuned to pitch thought to be common then (about 1/2
> tone flat). Interesting recording...though it doesn't
> do much for me. Both the sound of the cello and the
> pitch put me off. But this was, I believe, the first
> attempt at a period-style recording of this music.
> Bylsma: Made two recordings. I have the earlier (late 70's).
> Bylsma is a fabulous, eccentric cellist who extended
> the language and performance of the period movement.
> This is probably the most idiomatic performance of the
> Suites I have heard. One might argue that there's
> more Bylsma here than Bach. Haven't heard his later
> recording. He uses a 5-string cello piccollo for the
> 6th Suite. Period pitch.
What I've heard of the remake (which isn't much), I've liked more than
the earlier cycle. Much less rigid phrasing, and passionate music making.
> Crossover:
> Schiff: Uses a modern cello, and a mix of modern and period
> bowings, with modern concert pitch to create what
> I feel is a revelation in Bach interpretation. Schiff
> uses some of the clipped, 'swelly' period phrasing that
> usually puts me off. Unfortunately, a full-priced EMI
> issue that can be hard to find.
> There are other releases out there which I haven't heard. I realize
>my thumbnail descriptions are my personal impressions, wildly incomplete.
>YMMV!
> Bill
Dan Koren
>satt...@u.washington.edu (W. Satterthwaite) writes:
> [many snips]
>> There are other releases out there which I haven't heard. I realize
>>my thumbnail descriptions are my personal impressions, wildly incomplete.
>>YMMV!
Right you are -- missed the most important one!
Paul Tortelier.
dk
James C Liu
>I own the Casals and the DuPre. As much as I appreciate both artists,
>I can't recommend either one. Both are rather dry performances. I
>have heard the Yoyo Ma and performance wise it is excellent. I heard
>it on the radio so I can't vouch for the recording quality, though.
*Many* words can be used to describe the playing of Pablo Casals and
Jacqueline duPre. *Dry* is probably the least appropriate word I can
think of; these are two of the most passionate, emotionally involved
artists that have ever recorded, let alone on the cello. Dry recordings
maybe (and lousy sound definitely for the Casals), but dry performances,
never.
Yo-Yo Ma's recording dates from the late '70s or early '80s. It's in
(gasp) analog. Flee!
Mario Taboada
more recent recordings, I like Yo-Yo Ma's and Anner Bylsma's best.
Starker, Gendron, Tortelier, Fournier, etc. are all great performers
and you won't be disappointed - but Casals was a musical genius and
alchemist of much higher stature. It's worth putting up with the
old mono sound....I assure you that you will go back over and over to
Pablo's recordings and marvel until the end of your days.
Regards,
--
Mario Taboada \\"The trouble with truth is its many varieties"\\
* Department of Mathematics * University of Southern California * Los Angeles
e-mail: tab...@mtha.usc.edu
R. Michael Terry
Tepper) wrote:
> In article <47uot7$d...@cnct.com>, lzhu...@cnct.comÚ says...
> >
> >The ultimate recording of Bach 'CEllo Suites?
> >
> >
If you really want to hear the pieces done stylishly and beautifully as
well on a baroque cello by someone who understands baroque style then pick
up the recordings by Bilsma. You won't regret it. Note it's probably not
the lush 19th/20th century 'cello playing that "juries" and "symphony"
auditioners are wanting to hear, like the big sound of Rostapovich,
Casals, or even Fritz Magg, but it is beautiful playing and arguably
(let's don't start a flame war here) closer to what Bach might have heard.
cheers.
--
R. Michael Terry, CFP
James C Liu
>If you really want to hear the pieces done stylishly and beautifully as
>well on a baroque cello by someone who understands baroque style then pick
>up the recordings by Bilsma. You won't regret it. Note it's probably not
>the lush 19th/20th century 'cello playing that "juries" and "symphony"
>auditioners are wanting to hear, like the big sound of Rostapovich,
>Casals, or even Fritz Magg, but it is beautiful playing and arguably
>(let's don't start a flame war here) closer to what Bach might have heard.
I don't know, I always thought juries and the like wouldn't necessarily
respond to the way a cellist like Casals takes risks and phrases things
unconventionally. Maybe not.
Bylsma's performances are wonderful; I prefer his looser-limbed, more
freely phrased second recording (on Sony?) to the earlier effort on
Pro Arte. Whether it's what Bach might have heard is of relatively
little concern to me, though YMMV as always.
Geo. Thomson & Michelle Dulak
Michael Terry writes:
>If you really want to hear the pieces done stylishly and beautifully as
>well on a baroque cello by someone who understands baroque style then pick
>up the recordings by Bilsma. You won't regret it. Note it's probably not
>the lush 19th/20th century 'cello playing that "juries" and "symphony"
>auditioners are wanting to hear, like the big sound of Rostapovich,
>Casals, or even Fritz Magg, but it is beautiful playing and arguably
>(let's don't start a flame war here) closer to what Bach might have heard.
If you mean the Sony set, which may now be the only one in print,
except for the Sixth Suite Bylsma plays on a modern-setup cello (a
gorgeous Stradivari instrument belonging to the Smithsonian) with
a Tourte (modern-style) bow, at a pitch just a smidge under
modern standard (A435, as opposed to the typical baroque A415), and
with gut strings. This is not a "baroque cello"; in fact, it's
very close to the setup Steven Isserlis uses for 19th- and 20th-c.
music.
I agree wholeheartedly with the recommendation; I think this is
the finest set of the Suites I have heard or am likely to hear.
But your description perplexes me. The sound is *very* "lush,"
and it's a 20th-c. sound (Bylsma is a 20th-c. cellist!) And I
doubt that it's anything like "what Bach would have heard." The
point is that it's fantastic playing (and, btw, far more rhythmically
free than most performances).
Michelle Dulak
Ryan M. Hare
: If you mean the Sony set, which may now be the only one in print,
: except for the Sixth Suite Bylsma plays on a modern-setup cello (a
: gorgeous Stradivari instrument belonging to the Smithsonian) with
: a Tourte (modern-style) bow, at a pitch just a smidge under
: modern standard (A435, as opposed to the typical baroque A415), and
: with gut strings. This is not a "baroque cello"; in fact, it's
: very close to the setup Steven Isserlis uses for 19th- and 20th-c.
: music.
The most recent recording (from around 1992), on Sony and still
available, uses a full-size, unaltered "Servais" Stradivarius cello for
Suites 1-5. According to the liner notes, this cello is one of the few
that was not altered but still retains its original form and dimensions.
Could you explain how it is that this instrument uses a "modern-setup"?
Also, the notes say that the three lowest strings are gut overspun wiht
metal.
: I agree wholeheartedly with the recommendation; I think this is
: the finest set of the Suites I have heard or am likely to hear.
: But your description perplexes me. The sound is *very* "lush,"
: and it's a 20th-c. sound (Bylsma is a 20th-c. cellist!) And I
: doubt that it's anything like "what Bach would have heard." The
: point is that it's fantastic playing (and, btw, far more rhythmically
: free than most performances).
I second the recommendation for the Bylsma. It *is* a very rich sound,
apparently owing to the unusually large size of the instruments
(according to the notes, 3 cm larger). Why do you doubt "it's anything
like Bach would have heard"? To my ears, it is a very historically
informed performance, and uses the sorts of phrasing, articulation, and
rhythmic flexibility one finds described in treatises contemporary to Bach.
Ryan Hare
rh...@u.washington.edu
J. H. Chajes
later Bilsma recording back to back with the new Rostropovich, I was=20
struck by Bilsma's "egoless" playing. The "authenticity" that is=20
important to me is not the period instrument, ofr the bowing, etc., but=20
the performer's ability to let the music "express itself." With=20
Rostropovich, I heard SO MUCH Rostropovich, and with Bilsma, I felt like=
=20
I was really hearing Bach.=20
Just my impressions -
Jeffrey
On Mon, 20 Nov 1995, R. Michael Terry wrote:
> In article <483b76$8...@news1.deltanet.com>, du...@deltanet.com (Matthew B=
.
> Tepper) wrote:
>=20
> > In article <47uot7$d...@cnct.com>, lzhu...@cnct.com=DA says...
> > >
> > >The ultimate recording of Bach 'CEllo Suites?
> > >
> > >
> If you really want to hear the pieces done stylishly and beautifully as
> well on a baroque cello by someone who understands baroque style then pic=
k
> up the recordings by Bilsma. You won't regret it. Note it's probably not
> the lush 19th/20th century 'cello playing that "juries" and "symphony"
> auditioners are wanting to hear, like the big sound of Rostapovich,
> Casals, or even Fritz Magg, but it is beautiful playing and arguably
> (let's don't start a flame war here) closer to what Bach might have heard=
.
>=20
> cheers.
>=20
> --=20
> R. Michael Terry, CFP
>=20
>=20
___________________________________________________________________________=
___
J. H. Chajes=09=09 Ich gedenk gornisht * the blind beggar=20
Rechov Haporzim 12/6=09=09______________________________________________
Jerusalem =09 =09______________________________________________=
=09
___________________________________________________________________________=
___
John Marberry
recordings of the Bach cello suites are "rather dry," particularly
when he describes the Yo-Yo Ma as "excellent." I've not heard
DuPre's--is it available? does anyone know the label?--but my own ear
has loved the Casals for 3 decades, whereas the Ma gathers dust on my
shelf.
je...@primenet.com (Jetta) wrote:
>lzhu...@cnct.com (Leo Zhurbin) wrote:
>>The ultimate recording of Bach 'CEllo Suites?
>>Recently I've been loking to buy one.. Something that the orchestra
>>commissions, and college juries would find the interpritationcorrect
>>(though I DO preffer my own).
>>Is that Rostropovich recent one extremely good? I'm a little reluctant to
>>buy it because the sticker on the CD cites a review from the New York
>>Times, but it says nothing about the recording, rather talks about that
>>"These are the greatest pieces ever....", and "one of the best 'cellists
>>in the last 35 years".. (By the way: who died 35 years ago?)
>>Any suggestions would be MUCH appreciated.
>>Leo
Geo. Thomson & Michelle Dulak
Ryan Hare writes:
>The most recent recording (from around 1992), on Sony and still
>available, uses a full-size, unaltered "Servais" Stradivarius cello for
>Suites 1-5. According to the liner notes, this cello is one of the few
>that was not altered but still retains its original form and dimensions.
>Could you explain how it is that this instrument uses a "modern-setup"?
What the notes say is that this is one of the few "large-pattern" cellos
that have not been cut down to a smaller size. That's a different
question from the usual "modernization" of a Baroque instrument, which
involves changes to the neck, bass-bar, etc., and (in the case of a
cello) the addition of an endpin. My understanding is that the "Servais"
Strad is in "modern" condition, though I may be wrong. Certainly
Bylsma is playing *something* with an endpin in the photo in the
booklet.
>Also, the notes say that the three lowest strings are gut overspun wiht
>metal.
That's what I meant by "gut strings," actually. I think the two lowest
strings of a cello were always wire-wound; not sure about the D.
>I second the recommendation for the Bylsma. It *is* a very rich sound,
>apparently owing to the unusually large size of the instruments
>(according to the notes, 3 cm larger).
Having Bylsma doing the playing doesn't hurt either. ;-)
>Why do you doubt "it's anything
>like Bach would have heard"? To my ears, it is a very historically
>informed performance, and uses the sorts of phrasing, articulation, and
>rhythmic flexibility one finds described in treatises contemporary to Bach.
I should have spoken more carefully. What I mean is that the genius of
the performance can't be traced literally bach to "what Bach would have
heard," nor should it be; and that we have no way of knowing whether
some of Bylsma's more daring gestures (say, the way he takes the
last few bars of the first prelude) would or would not have been
perceived in Bach's time as "within bounds." No treatise can tell
you that. We have evidence aplenty of rhythmic flexibility in
the Baroque; we do not know, and will never know, whether Bylsma's
brand of flexibility is what Bach would have heard, let alone what
Bach would have admired.
My point, which could have been better put, was just that claiming
Bach's imprimatur for Bylsma is beside the point. The question
that matters is whether the music-making works, and it works
spectacularly. I don't give a damn whether the pitch is too
high or the bow anachronistic or an endpin is on the cello.
Michelle Dulak
W. Satterthwaite
>[..] Bylsma uses a full-size, unaltered "Servais" Stradivarius cello for
>that was not altered but still retains its original form and dimensions.
>Could you explain how it is that this instrument uses a "modern-setup"?
>metal.
>
>: the finest set of the Suites I have heard or am likely to hear.
>: But your description perplexes me. The sound is *very* "lush,"
>: and it's a 20th-c. sound (Bylsma is a 20th-c. cellist!) And I
>: doubt that it's anything like "what Bach would have heard." The
>: point is that it's fantastic playing (and, btw, far more rhythmically
>: free than most performances).
>
>apparently owing to the unusually large size of the instruments
>informed performance, and uses the sorts of phrasing, articulation, and
>rhythmic flexibility one finds described in treatises contemporary to Bach.
>
The Servais (1701) is a unique Stradivari cello of transitional size/
form. Most of his earlier celli were _huge_, and most have
been cut down. Around 1700, AS began building smaller celli, and
one outstanding example that survives is the Servais. It is not
much larger than what is considered to be 'standard' size, and doesn't
feel unwieldy (I've played it myself). It is a little larger than his
later examples.
I believe that, of all the celli AS made, only the DeMunk (played
by Feuermann and today by Aldo Parisot) has the 'standard' 29.5"
body length. Most of the great older celli are larger than this;
I've made instruments patterned after Goffriller and Rugieri with
body lengths ~ 30.25 or so, and few people have complained about
the size. And it is my understanding that AS pretty much settled
down to the smaller size at the time of the Duport (1711), and his later
works were not cut down. Violin makers/restorers were/are extremely
clever in how an instrument is cut; if done judiciously, it can be
nearly impossible to detect. Most modern makers consider it butchery,
but it was widely practiced in the 19thC, and still goes on today.
All other things being equal, a larger-sized instrument will give
you a slight edge on sound, but there are so many variables involved
in sound production (including the player, of course!).
When I examined the Servais, it was strung with 4 gut-core strings
(all overwound with metal, as I recall, though maybe the A wasn't).
Aside from this, it is configured in a 'modern' way; the neck length
and inclination, fingerboard, and bridge are as 'modern' as you can
be. And I'll bet the bass bar is of the modern, heavier variety, too.
Bows make a difference too; pre-Tourte (mid 19thC) bows lend them-
selves to different modes of tone production than ones made later.
As for 'period' vs 'modern' playing: the strings/setup/bow do make
a difference in sound, but the performer's overall musicality/
technique contribute more heavily to the final impression.
The 'golden period' Cremonese instruments were not played in
N. Europe during Bach's time; the cult of Stradivari/Guarneri
didn't start until early- to mid-19th C. Before that, most of
AS's instruments were to be found Italy. There are exceptions,
of course.
WS
James C Liu
>I can't let pass Mr. Jetta's comment that the Casals (and DuPre)
>recordings of the Bach cello suites are "rather dry," particularly
>when he describes the Yo-Yo Ma as "excellent." I've not heard
>DuPre's--is it available? does anyone know the label?--but my own ear
>has loved the Casals for 3 decades, whereas the Ma gathers dust on my
>shelf.
I don't think duPre ever took the suites into the studio. There are
records of BBC broadcasts out there, which have found their way onto EMI
CD's. There is other promising-sounding chamber music in there, too,
including some Beethoven and Brahms sonatas (is it Stephen Bishopcevich
accompanying?).
EKim461677
best I have heard. Rostovovich may be a good choice if one interested in
a more heavy handed sound.
If one is still interested in other recordings besides the aforementioned
cellists, one should definitely hear the Jacqueline Du Pre recordings. In
an EMI boxed set, there are two of the suites ( she never got around
recording the rest, due to the onset of mutiple sclerosis) and they are
one of the best recordings I have heard in a long time.
EK
BRANDON L. LAUER
: There is no question about it, the Casals cello suites are definitvely the
I think that, if one prefers a romantic interpretation of Bach, then
Casals is good. But I wouldn't call his recordings the best. We have
Casals to thank for "rediscovering" the Cello Suites, and I think that is
one of the reasons his performances are lookied upon so fondly. However,
I much prefer some other performances (and quite frankly, I really don't
like the Casals recordings). I would highly recommend Anner Bylsma. He
is a Dutch cellist reknown for period-style cello performances. He has
recorded the Suites twice; one recording, made about 10 or 15 years ago,
was released on Pro Arte - this recording is done on baroque cello. And
now a more recent recording (ca. 1993), released by Sony, is a recording
on the famous "Servais Strad" cello at the Smithsonian - an amazing
instrument, and a very good performance. Also on this recording, Bylsma
performs the 6th suite on the Cello Piccolo (a five-stringed instrument,
for which the suite was originally written). Another great recording is
that with Heinrich Schiff, an Austrian cellist with an impeccable
technique and truely original musical interpretation (also a very
successful interpretation, as far as I'm concerned). I recommend any of
these.
bl
Peter M. Barach
: I would highly recommend Anner Bylsma. He
: recorded the Suites twice; one recording, made about 10 or 15 years ago,
: was released on Pro Arte - this recording is done on baroque cello. And
: now a more recent recording (ca. 1993), released by Sony, is a recording
: on the famous "Servais Strad" cello at the Smithsonian
differs from the newer one.
The Rostropovich recordings are, IMO, stolid, tonally unyielding,
and lack any sense of variety ("dance") in articulation.
--
Peter M. Barach, Ph.D.
5851 Pearl Road, Suite 305
Parma Heights, Ohio 44130 USA
Phone: Voice-216-845-9011 (press 6 if you get voice mail) Fax-216-845-9013