Jiří Bárta. Bach Cello Suites Vol 1 Suites 1-3 released 1996 Recorded Nov 1995.
Vol 2 Suites 4-6 released 1997 Recorded July 1996.
Complete Suites released 2000 Bach anniversary.
Supraphon SU 3502-2.
Recorded at the Castle Kozel.
No information provided about the cello used or set up.
The Cellist.
Czech cellist Jiří Bárta was only aged 31 when he made this, his first recording of the Suites. He has partaken in masterclasses by Andre Navarra and Heinrich Schiff. He works internationally as a soloist.
I suspect Bárta speaks for many when he says in the notes:
“Bach is a genius and trying to understand his music in its wholeness is equal to wishing to understand the law of the universe. I thank God I have been given the possibility of at least trying it.”
The Recording.
This recording typifies many from the 90’s in that it endows the cello with a generous resonance. The instrument is set quite well back and with plenty of space around. I am not made aware of obvious finger board or breathing noises. The cello is not credited but has a full and even tone across its range.
The Music.
The first Suite Prelude is together with the fifth Suite Sarabande probably the favourite of many more casual listeners and with good reason. It has a lovely flow and serenity and in many hands a pulse and clear sense of direction. Bárta plays with a light touch generally and at a good pace but seems keen to emphasise the first beat and key note of each phrase. In addition there is a slight pause. The result in my mind is loss of momentum and slightly jars. This is unfortunate because it made a rather lasting first impression! It does not seem to add to the rhythmicity of the playing. The first Courante needs plenty of articulation and rhythm, which I did not perceive. There was plenty of light and shade and care taken with phrasing but the lack of momentum and rhythm prevails throughout the first Suite.
The second Suite is suitably sombre but with the same features as the first. The Courante was played at a brisk pace but without articulation that would have averted a rather muddy sound.
The third prelude was introduced with a suitably grand opening flourish. The interplay between the melody and the bass pedal in the mid section is nicely emphasised making this the highlight of the first volume (Suites 1-3). I thought the Courante, Bourees and Gigue had more rhythm than the movements of the first two Suites. The Gigue particularly was endowed with an earthy sound especially in the double-stopped passages.
Volume 2 (Suites 4-6).
The second volume appears to have been recorded and released approximately a year after the first volume and over a two month period as opposed to 3 days for the first volume.
The fourth Prelude sets off at a brisk skipping pace. There is significant slowing in the mid section and then back to the brisk pace of the initial passage. There seemed to be more drive with this movement which I found pleasing. Other movements of the fourth Suite were somewhat leaden.
The Prelude of the fifth Suite seemed to mark a bit of a change for the better with the introduction to the piece being coherent and the fugal passage gaining momentum to the climactic ending. The Allemande and Courante benefitted from this, and I sensed less of the emphasis on the first beat of each phrase.
The fifth Sarabande was played with very little vibrato and just shaping of the phrases to take us through which worked well I felt. Perhaps more dynamics would have helped. Unfortunately, the fifth Gigue seemed to suffer from a relapse into a rather stilted rhythm.
The sixth prelude flowed well with power in the lower registers and smooth flowing lyrical lines in the upper registers. There was a little loss of accuracy in the very top register passage but there was a sustained level of confident playing which was ultimately satisfying. The following Allemande was impressive in how Bárta kept the interest throughout what is a demanding piece for both player and listener. The remaining movements whilst not being flat or uninteresting still suffered from the slight over emphasis of the first note of each phrase with accompanying brief pause which was akin to someone walking with a bit of a limp rather than a spring in their step!
Conclusion.
Overall I felt this was a flawed recording but not without merits. There was flair and confidence in the playing but it’s a very competitive arena and there are significant numbers of recordings which satisfy more. I could not identify a compelling reason to add this to one’s collection.
Charles.