Ralph Kirshbaum. Bach Cello Suites. CD Virgin Classics 7243 5 61609 2 7 Released 1999 (Re-issue) originally released 1994.
Recorded 1993 at St George’s Brandon Hill, Bristol.
Cello played by Domenico Montagnana of Venice circa 1729.
The Cellist.
Ralph Kirshbaum is a very well respected American cellist, well known to audiences in the Uk in the 80s and 90s. He now concentrates on teaching and in fact has presents a series of on line instructive videos which in 18 tutorials gives over 3 hours of instruction for the princely sum of just under $50.
https://www.playwithapro.com/video/artist/ralph-kirshbaum
On the basis of this recording, I would suggest that it is $50 well worth spending if the tutorials communicate his abilities effectively. I have yet to explore this avenue but shall when time permits.
The Recording.
The quality of the recording is top notch with the sumptuous tone of the Montagnana cello well captured in its whole range. There is just the right amount of echo from the concert hall setting of the recording venue. This, and a sense of space around the instrument lets each note resonate perfectly whatever the pace of the performance.
Unfortunately, rather persistent and at times noisy breathing is heard from the performer.
The Interpretation.
Kirshbaum’s playing complements the recording with strong tone, where required, such as the Prelude of the third Suite.
There is restraint with vibrato and delicate phrasing in the Sarabande of the fifth Suite. Then, in many of the quicker movements there is very precise articulation, which I am sure many historically informed exponents would be envious of.
Icing on the cake.
The icing on the cake for me especially in the fifth Suite is Kirshbaum’s playing of chords and double stopping. Some performers tend to lunge or grab at chords producing a rasping, sometimes disturbing sound. Kirshbaum has the ability to make every note resonate. More than that, he brings out exactly the note of importance for the flow of the melody. Sometimes that note may be one played on the middle strings and here he seems to excel and produce something very different from other performers. It actually makes passages with chords something to look forward to rather than as sometimes tense up!
The Master technician.
All of this points to a performer who is a master technician with nothing seeming to throw him out of control. Musically, there is wonderful phrasing, great poise and; often missing from other performances, a sense of rhythm. This conveys the dance origins of the movements after each Prelude. There is a hint of strain and closeness to the limits in the sixth suite especially the Courante which is taken at a fair lick. In addition, some lower string fast passages sound a little less clear than elsewhere. At the same time, this Suite does quicken the pulse and I moved nearer to the edge of my seat!
Conclusion.
The only things which prevent me promoting this recording to the top of my recommendations is that across the six Suites there is a slight lack of dynamics and excitement (sixth Suite being an exception). The performances are certainly not boring but not quite thrilling either. I can summarise by concluding that this is a recording for the mind as it is intellectually very satisfying but leaves the heart feeling just slightly neglected.
Charles.