Alban Gerhardt The Bach Cello Suites (Hyperion CDA 68261/2) Rec.2018
The Cellist.
Gerhardt’s introductory notes to these recordings illuminate. Whilst he is a front rank cellist, he acknowledges he didn’t feel ready to set down his interpretations in a recording until he reached fifty. He felt they represented the “ultimate challenge”. As he approached fifty he decided the time was ripe. Because he knew that they could only represent a “snapshot” of his views, this was in no way to be his “final word” on the pieces.
Amongst other comments is the intriguing one that “I don’t recall the last time I listened to these suites, either live or recorded” as “I already have too many ideas how every movements could be played”. I would add that in a recent interview in Gramophone magazine, he states that for a long time he found Bach boring!
From all the above I think it is reasonable to believe he is approaching the Suites with far less baggage and preconceptions than is typically the case. All of which bode well for an interesting listening session.
The recording.
In practice, there is plenty to say. He is projecting his own views on how the pieces should sound without being so radical as to throw the baby out with the bath water. His approach seems to me to lean more towards the historically informed camp than the romantic one. Significantly, without going the whole hog. In his notes he indicates he intended a HIP approach but rapidly decided it wasn’t right for him. In any case, he disputes what is technically historically informed !
The music.
Suite one
Turning to the Suites themselves, the 1st Suite prelude has plenty of light and shade, but the use of rubato feels at times like a tempo change. The ear does adjust though.
There is lovely technically clean cello playing with no unwanted sounds intruding. In fact (Hallelujah!) this is maintained throughout the 6 Suites with no irritating finger on wood tapping arriving anywhere – very rare in modern recordings (as evidenced by comparison with Steven Isserlis’ recording on the same label)….The Prelude finishes with a last note that seems to fade out into infinity, a nice touch. In the same suite I did find the 1st Minuet a bit forthright given it’s graceful dance origins, but it does contrast nicely with the somewhat gentler 2nd Minuet.
Suite two.
In the 2nd Suite Sarabande chordings I feel particularly aware that I am listening to a beautifully rich and woody sounding cello. Credit obviously to the performer, but worth noting that he plays a Matteo Gofriller cello dating from 1710. From memory I am sure this is not the first time that I have complimented Gofriller cellos which seem to highlight the warmer mid range of the cello whilst in no way short changing the bass elements.
Suite three.
Turning to the 3rd Suite, I found the Prelude’s entry a bit four square, even and uneventful.
Compare this with David Watkin’s version. This is exciting and furthermore, in his notes he gives a pictorial description of what he chooses to imagine could be happening.
By this Suite it was also self evident that Gerhardt is very keen to delineate every note with superb articulation a feature of the recording. I would like a bit more contrast between the Allemande and Courante.
The Sarabande again highlights the cello’s lovely rich sound with plenty of harmonics adding to the pleasure. In the 1st Bourree I can imagine the bow gleefully bouncing off the strings. I will mention that, having previously complimented the pure unadulterated sound of the cello, on my system I could detect some gentle foot tapping going on, but nothing obtrusive. The same occurred in the Gigue, another movement with beautiful articulation. I like to think the cellist is just fully engaged in the joys of the Suites.
Suite four.
The 4th Suite delivered more of the same qualities, with great articulation throughout, and a Sarabande with abundant overtones.
Suite five.
In the 5th Suite’s Sarabande, the sound broadens out a bit for this special movement. Gerhardt chooses to keep pauses fairly short which aids the flow but perhaps loses a little mystery.
Suite six.
By the time the 6th Suite arrived, I had an overall very high opinion of what Gerhardt had achieved. Unfortunately, this final showpiece Suite did temper these views a little. The Prelude has a big, full and rich sound but his use of rubato does impede the flow of this sweeping melody a fair bit. I also found the top notes in some phrases a bit “squeely” at times . In fairness though, every note came through clearly again, but it just felt a bit ponderous to me. The following Allemande needed more space to project the spiritual elements.
The Sarabande again doesn’t hang about but I think does draw the listener in a bit better. Conversely, in the 1st Gavotte I expected a bit more momentum than Gerhardt generates here. The same could be said for the closing Gigue.
Conclusion.
Taking the Suites as a whole I felt throughout that Gerhardt was fully engaged with the pieces. He is constantly striving to convey his current view of them.
There is nothing perfunctory about these readings, and despite my reservations about the 6th Suite, it is another set which fully deserves its place in a collection.
Thus showing just how much there is to be found in Bach’s masterpieces, and reconfirming there is no single right way to play them. I would position Gerhardt’s version as more of a head than heart recording, which may suit many.
My final word.
One final comment on the recording quality itself. This seems fairly natural and unforced, which made me think of my comments on Isserlis’ own Hyperion set, where I thought it lacked projection and was flat. Having heard Gerhardt’s, I think that may have been to a degree unfair and on reflection it perhaps just represents Hyperion’s house style.
Mark