Yo Yo Ma 2017.
Yo Yo Ma “Six Evolutions” 6 Suites For Unaccompanied Cello. Sony Classical Rec.2017 19075854652.
Introduction.
Ma has recorded the suites twice before. His reading from 1983 is considered mainstream or traditional. His spacious reading from 1997, which I review separately, is considered by some (but not me) as romantic. The current reading from 2017, which Ma states will be his last, is very different again.
General Comments.
Nailing my colours to the mast at the outset I think it quite special. The strange thing is, when I sampled movements on Spotify, I originally wasn’t planning to purchase it. My initial impressions were that it was a finicky reading and lacking gravitas. In addition, a feeling of it being throwaway! Thank goodness I relented and added it to the collection…..
For sure there is a lightness to Ma’s approach not typically found elsewhere. He is quite prepared to open chords up so all the notes come through and have their own importance. Moreover, I believe this is a performance intended for chamber performance. Bear in mind it is a moot point that this was Bach’s intention. In many other cases recordings sound like they could fill a larger auditorium.
Suite One.
Turning to specific movements. The 1st Suite Prelude is unhurried and light with Ma being quite prepared to let notes tail off. There are no over emphases dynamically. Volume increases or decreases naturally and leads to a wonderful pinnacle of sound in the closing bars.
The following Allemande is playful if perhaps a bit quicker than I am used to. In fact if there is a theme to the suites as a whole, the slower movements do tend to be a little quicker than I am used to hearing. Whereas conversely the quicker ones are often a little slower. This is not a criticism, as the flow of the pieces still sounds quite natural to me.
Back to the 1st Suite, there is a joyful skittishness in the Courante.
The Minuets intriguingly transition to the Gigue with virtually no gap which whilst novel works quite nicely.
Suite Two.
I have seen in one review a comment that there is not enough differentiation in character between Ma’s Allemandes and Courantes. Well, my exhibit A to disprove this view would be those of the 2nd Suite, with the first being a measured approach and the latter quick and beautifully articulated.
Suite Three.
Exhibit B would be the 3rd Suite where the different characters are again delineated. The Sarabande in the 3rd Suite made me sit up and listen. There is a dialogue of multiple lines at play here. Ma demonstrates how he can use the pieces as a conversation with himself. Nevertheless, it is a conversation where we are in the privileged position of being invited to join him – wonderful! The Sarabande has a gentle, beautifully shaded fade out.
Suite Four.
The 4th Suite Prelude is absolutely fascinating. Ma takes us on a roller coaster ride of loud and soft sections. But again with nothing done in a jarring manner. It starts boldly enough, and proceeds to have subtly varied dynamics. That is, until we find at around 2:20 he starts to take the sound right down. This, allied to a judicious use of rubato could well leave the uninitiated thinking the movement is drawing to a close. Yet he never stops but just keeps drawing us further into the piece until he builds up the sound for a suitably declamatory ending.
In the 5th Suite Allemande Ma does put more weight into the sound, showing that he is quite prepared to do this when he thinks the music demands it. Significantly, the famous Sarabande doesn’t hang around, and there are less pauses than I am accustomed to hearing. Thus, notes are held over at the end of phrases, but there is nevertheless a retained sense of stillness. This produces some magical wispy sounds coming from the single note lines.
The Gigue can be criticised by those lacking empathy with Ma. It feels a bit lumpy at times (just to show no reading is perfect!).
Suite Six.
Turning to the 6th Suite, the famous Allemande feels to me like it is being recreated on the spot. Phrasings allow the music to dance, ebb and flow. In fact the freeness of phrasing is a common theme in Ma’s interpretation. There are harmonies galore emerging within the piece. Although it feels fast, comparison timings with other versions suggest it is by no means excessive. It is though, an atypical reading which may polarise opinions.
The Sarabande is relatively quick also with chords opened out so every note counts. It still retains a sombre and mournful mood throughout. I would be happy with this played at my funeral.
Recording quality is surprisingly good for a modern recording with breathing more likely to intrude than any mechanical noises.
Conclusion.
In summary, I think this is a reading that every Bach Suites lover should try and acquaint themselves with. It may polarise opinions by initially feeling a bit left field in the canon, but for me, if it is indeed Ma’s last will and testament Bach wise, he should be feeling very proud of what he has left for us.
Mark.