Mischa Maisky 1985.
Bach Cello Suites. Deutsche Grammophon 445 373-2 CD released 1985.
Recorded at Zentralsaal, Bamberg, Bavaria, Germany. 1984
Digital recording. (DDD)
General comments of the recording.
This is a high quality digital recording although there is some glassiness that is typical of digital recordings from the 1980s. The dynamics are well captured, with cello positioned well forward and centrally. More recent recordings I have reviewed by other artists sound smoother and less brittle.
The Cellist.
Maisky has a huge reputation as a cellist of the highest calibre. This, his first of three renderings of the Suites if one includes a DVD of performances from 1986, demonstrate why.
The Recording.
He plays with huge confidence and assertiveness. The tone of his cello is grand, the dynamic and tonal range huge. In essence this recording makes a very strong first impression. Overall, the actual interpretations and speed of the pieces is conventional, with nothing too contentious.
When Maisky plays loud he plays very loud and when he plays quietly he plays very softly. He seems to spend little time in between! For me this became a little tiring when listening to a whole CD in one sitting. This may also be the digital effect which is known to be a factor in listener fatigue.
What I appreciated about Maisky’s performances is that he does pay particular attention to how he deals with repeats which mostly he includes.
For instance, in Sarabandes, he tends to break up the chords rather than double stop the second time round. There are additional ornamentations elsewhere and varying dynamics.
More detail.
Some comments I would make about specific suites. I noted the Gigue in Suite 1 varied significantly in speed after a seemingly steady start. It seemed like the performer was needing to be wound up frequently.
The Prelude of Suite 2 was very reflective in style which I found welcome.
In Suite 3 after a grand Prelude the Allemande was by contrast light and generally more quiet providing a contrast. This Suite I felt was full of interesting changes in dynamics and tempo with nothing predictable but not unsettling.
The Prelude of the 4thSuite I did find uncomfortable due to the huge tone and unvarying shape of the first half together with quite a slow pace. It really does sound rather laboured like walking through a muddy field. Light relief is obtained with a hushed approach to the first pause. At this point, the big tone is re-introduced. Then in the last passages there is a most extraordinary point 12 bars from the end. During the penultimate semiquaver passage, the loudness of the cello seems to go up another notch as if the engineers had moved the microphone closer. Maybe Maisky himself moved significantly!
In Suite 6 the grandiose Prelude is interspersed with oases of quiet reflective passages which are very pleasing. The final Gigue is very exciting with its double stopping bringing the performance to a suitably climatic finish.
Conclusion.
This then is a must consider version of the cello suites but not one without certain reservations. For me it was intellectually stimulating but it did not stir my emotions as much as some others and therefore not one that I would be likely to revisit
Charles.
Mischa Maisky Six Suites for Solo Cello (Deutsche Grammophon) Rec.1985 445 373-2
Introduction.
Maisky has been quoted as saying “If I could say that music is my religion, then Bach is my bible”, which bodes well for his recordings (this was his first) of the suites. He has also said though “Bach was the greatest romantic” which may raise a few alarm bells.
The recording.
Well, from my perspective this first recording is not so much romantic as rhapsodic. Maisky fully immerses himself in the music and is clearly in love with the Bach suites, from beginning to end. They are for sure big boned, full fat recordings with not a hint of baroque style about them. This is even evident in the earlier relatively simpler and lighter suites. A good example of this would be to play the first three movements of the 2nd Suite which despite their different forms, all contain Maisky’s rich sound and trademark swells.
I don’t doubt that Bach would be surprised to hear these versions of his music being played, and yet I have an inkling that he would grow to like them….
From the above comments it should be clear that these are readings which perhaps stray into my pet hate territory of more of the performer and less of Bach. However, Maisky just proves for me the exception to the rule. The sheer power and majesty of his version was enough to make me fall in love with the suites in the first place. I never doubt for one minute his love for them and his commitment to Bach, or his wish to share this with the listener.
Highlights.
Picking out highlights seems superfluous, but the 1st Suite’s Prelude had a wonderful flow and depth of sound that made me immediately sit up and take note. It was one of the first recordings I ever played to my fellow site reviewer, and he stated after hearing it that “it made the hairs on my neck stand up”, I couldn’t agree more. The standard is sustained right through to the final 6th Suite’s Gigue which is suitably joyful and dispatched with great panache, a fitting conclusion to the cycle.
Conclusion.
This first traversal of the suites by Maisky despite no doubt raising a few eyebrows was generally well received by the critics.
Awards included both the Grand Prix du Disque and Tokyo Record Academy prize.
I have another later version of the suites by Maisky which will also be reviewed and will indicate that from my perspective he doesn’t always hit the bullseye.
However, this first version was the reason I started to explore and pick off other quite different recordings over time, with equally valid approaches to Bach’s music.
Be that as it may, if I was to have a house fire and only had time to rescue one of my prized recordings, I suspect instinctively this would still be the one I would reach for…
Mark.