Alexander Kniazev Cello Suites ( Warner Classics 25646 1294-2) Recorded 2003
The Cellist.
According to the accompanying booklet, the Russian cellist Alexander Kniazev is “one of the most eminent violincellists of today”. He has for sure received prizes in the past. These include winning the Pretoria International and coming second in the better known Tchaikovsky Competition. He is also Russian musician of the year for 1999. Furthermore, he has performed with several front rank international orchestras and chamber artists.
All good stuff! but a glance at his recorded history produces a surprising result. This is because it appears to be quite sketchy at best. Included, are several recordings on a variety of minor labels. Much of this in chamber ensembles. Significantly, famous cello concertante works are decidedly absent. Examples being Dvorak, Elgar, Schumann, Shostakovich concerti. Also Brahms Double Concerto. Warner Classics tried to focus on better known works, but they only seemed to have released his recordings between 2004-2007.
Due to the apparent disconnect between “fame” and recordings, I was left unsure what sort of performance I would encounter for this review. I admit to taking a punt on buying the set. This is as a result of an intriguing dabble on Spotify into the favoured Sixth Suite slower movements (about more anon). So what do I find?
The Recording.
Well, the recorded quality seems to me fine as I would typically expect from Warner. There is air around the cello, although unfortunately some of that is from the rather prominent breathing! No matter, it does not spoil the overall experience. The cello is set a little forward. The instrument itself seems a fine one with plenty of deep burnished tone. But still able to pare down at more fragile top notes when the music requires.
The instrument is from the Russian State Collection and attributed to “Bergonzi, Cremona 1733”. However, as no celli are known to exist by Bergonzi, there is a view it may actually be a Matteo Gofriller. It appears many celli produced by this Venetian Maker are wrongly marked instead as Bergonzi. Kniazev stuck with the same cello for the Sixth Suite also. This, rather than opting for an easier to navigate (as I understand it) 5 string instrument.
The Performance.
So what of the performance of Kniazev himself? It is fairly easily designated as broadly romantic. Nevertheless, as we shall see that only tells a part of the story. This proves to be a very individual and idiosyncratic interpretation.
As an aside, I do allow myself a chuckle when reading the booklet notes. I refer to the comment regarding the early Casals ground breaking recording that “the Catalan musician’s “romantic” interpretations have long since become outdated”. It makes me wonder if the writer had even listened to Kniazev’ approach before authoring them!
Why three CDs?
Also worth noting here, Kniazev’s lengthy interpretations of the Suites leads to them being issued as a 3 disc set. This does have the advantage though of allowing them to be presented in numerical order. This always seems most logical to me.
First Suite.
We start with the 1st Suite Prelude, usually a litmus test for me as to whether I will like the performer’s overall approach.
Well, in this case that would be a mistake. It feels to me a ‘speed demon’ approach to the work, saying “look what I can do”. I challenged Charles that this may now be the fastest version we have heard. However, he trumps me with Annelies Schmidt which was even quicker by nearly 30 seconds! I played the two versions consecutively as a comparator, and I was glad I did. Schmidt’s version has outstanding articulation, but in comparison with Kniazev I find the latter produces much more subtlety of dynamics and tone.
Be that as it may, I thought I was in for a bumpy ride, as I generally don’t like the Prelude being played as a rapid warm up exercise (sic). There is a risk I feel, of missing the fantasy that a prelude normally provides. Thereby losing what is probably the most immediate simple melody in the Suites. In the event, Kniazev’s version of the Prelude ultimately doesn’t seem to fit with the rest of his recording in style, as there are no other outrageously fast movements.
Sensible and Slow.
What I do find is that the faster movements (e.g. Courantes, Gigues) are generally quick and exciting, but played at a sensible pace.
In contrast, the slower movements (e.g. Allemandes, Sarabandes) are slow. In fact the latter were typically slower than usual, and in the Sixth Suite I am sure track timing records are being broken (quite possibly even the discs themselves by apoplectic owners!).
The Sixth Suite Sarabande comes in at a whopping 9 minutes 16 seconds. However, this is a minnow in comparison to the Allemande which lasts 15 minutes 49 seconds!! I think it would be a reasonable expectation of an experienced cellist or indeed any seasoned listener to the Cello Suites, that the latter especially is being stretched beyond breaking point. However, for me at least, this does not prove the case. Kniazev somehow maintains the flow. Witness, the structure still in place and no apparent uncomfortable hiatuses. Frankly, it is a totally engrossing listen, if not one I would necessarily reach for everyday.
Dynamics.
Throughout the Suites I find much to admire including the subtlety of his tone and shading of notes. He is daring in his dynamic variation including movements where starts very softly and gradually builds up the volume in carefully balanced stages ( the 4th Suite Prelude and Sarabande come to mind).
On occasion, the revealing recording does appear to expose in his daringly fragile pianissimo notes or diminuendos, minor intonation issues or very slight silences. However, they are fleeting impressions and soon forgotten by the desire not to miss what is coming next. In fact, I can’t recall exactly where I did encounter them in practice, a testament to the fact many more positive memories remain.
Summary,
In conclusion, this is a unique performance and one I find positively bewitching. Thank goodness I didn’t discard it after the 1st Suite Prelude but persevered instead! I often listen to recordings of the Suites whilst also glancing at the morning papers. (perhaps not the best admission for a reviewer!) Naturally I am keeping an ear out for what is being presented to me musically and points of note! On this occasion, the papers were rapidly discarded as there was only ever going to be one focus of my attention.
So yes, I like this version, a lot……However, in attempting an impartial and more objective view, I would say it will in practice be a divisive one for listeners. Not just for its generally romantic style, but more for its challenges. It does this by frequently offering a completely different approach to traditional timings and pacing. For that reason, I would, with some regret, say it is one for seasoned and adventurous listeners, but not for first timers.
Mark.