Miloš Sádlo. Bach Cello Suites Supraphon 3 LP box set 1111 1701/3 G. First issued as box set 1978. Auditioned recording re issued 1983.
Recorded Jan 1969 (Suites 1&2). Jan to May 1971 (Suites 3-6).
Recording venue Studio Domovina Czechoslovakia.
No information about cello used for recording.
The cellist.
Born in Prague, Miloš Sádlo who died age 91 in 2003 in known principally for his phenomenal work ethic and for his association with Casals. More details with snippets of interviews is worth reading in this obituary from the Guardian newspaper.
https://www.theguardian.com/news/2003/oct/22/guardianobituaries.artsobituaries
The recording.
From the usual sources it appears that there were releases of this recording at various times but an entire release of all six Suites, came only 7 years after completion. There appears to have never been a full release on CD although the music is available on streaming services.
The Supraphon recording and pressing impress with dynamics and quietness although my used recording had more pops than befitted a near mint grading!
The full range of the cello was well captured with acoustics on the dry side and very little extraneous noise from the cellist himself.
The music.
The main characteristics that come to mind on listening to Sádlo is that he delivers with a strong sense of urgency, with faster movements delivered at a fierce pace in many cases. However, there is little sense of haste. By that I mean everything is kept neat and rhythmic. Sádlo’s technique throughout impresses, so there are only rare moments when the sound becomes ragged or even slightly untidy. The Prelude of the third Suite, being one such occasion. This movement still impresses but I am left wondering how good it might have been just a fractionally slower.
As one might expect from a recording made in the 70s, Sádlo plays with a strong powerful tone. Vibrato is not obvious but this is more Tortelier or Starker than Bylsma.
There are plenty of dynamics particularly in the fifth movements of each Suite which add interest to the repeats. Musically, I found the phrasing very enticing and kept my attention, such that I was ready to turn the record and listen to the other side rather than make a drink!
It is very tempting, being aware of Sádlo’s close links with Casals to draw comparison. He appears to have had lessons 2-3 times a week over a period of six months during 1955 with Casals. This I suspect is rather more than many very respected cellists who claim to have had masterclasses with the great man. Checking back with Casals’ recording I would suggest that if you like Casals then you should check out this recording by Sádlo. I found Casals rather relentless and occasionally a bit jarring. Sádlo I believe plays with the tone and enthusiasm of Casals but in a less forced manner. I find his dynamics more subtle and easy on the ear. Some of this may of course be down to a 40 year gap between the two recordings!
Specifics.
For me the highlights are the Preludes and Gigues which are all exciting and grip my attention. The fifth I found additionally fascinating as in the introductory section Sádlo introduces more dynamics than many cellists. The tendency being to maintain a strong loud line for the full 26 bars. Sádlo introduces a surprise softening when he drops to a low C or F which I find entertaining.
A bonus and a moan.
Unusually for an older recording Sádlo provides his own programme notes, which make for interesting reading. He starts with a quote from Casals, then dwells on the endless variations of interpretation that the “stature” of Bach’s writing encourages. Sádlo then invites a player to vary dramatically the performance of Beethoven or Dvorak, which of course has very different results! There is quite a bit more which I found very illuminating and sadly if you listen via streaming you will be unable to access. This is another issue I would take up with recording companies. It is very rare that a digital booklet is included with a download and there is very little information of this nature available to the streamer either. I personally would not mind increasing my subscription to Tidal if I could access the booklet info provided with CDs or LPs
Conclusion.
In summary this appears to be a rather neglected performance of the Suites. Having listened several times first on streaming then on LP, I would suggest it stands alongside recordings by all the aforementioned better known cellists.
If you like the Suites delivered in strong bold brush strokes but mixed with sensitivity and contrasting dynamics then give it a listen.
Charles.