Angela East. Bach Cello Suites. CD Red Priest Recordings RP006 released 2009.
Recording between 2001 and 2004.
Venue: Suites 1,3,5 & 6. Francois-Bernier concert hall Quebec.
Venue: Suites 2&4 Troy savings bank hall New York.
Instruments: Baroque cello by Peter Wamsley (England 1725).
Five-stringed cello by Kai-Thomas Roth, after Amati 2000.
Introduction.
This recording has a shocking and illuminating gestation! The booklet outlines the process in some detail. The key points include recording company bankruptcy, obsessional behaviours (not Angela East), litigation, technology issues, misappropriated tapes, and five years waiting!
Great credit is due to Angela East for her perseverance which resulted in the final product being ready for her 60th birthday.
I find it most fascinating to read of the cellist’s trials and tribulations in getting this recording completed. I think most readers would agree it is challenging enough to succeed artistically in such a competitive environment. To then add to that the litany of practical obstacles that needed to be overcome seems most unfair. I wonder how many times she felt like giving up?
The Cellist.
Angela East trained at the Royal College of Music in London. Later teachers included Andre Navarra and Christopher Bunting. She moved onto Baroque cello in 1979 and was therefore at the forefront of early music renaissance. Since 1997 she has been part of the Red Priest group who play what might be called cross over music. Namely, bridging ‘authentic’ Baroque and modern arrangements which popularise many composers from this era.
The recording.
Thankfully, given the traumas of its production, the recording is of high quality. As is usual in recordings of baroque instruments, the microphone positioning is close. There are a fair few mechanical noises with chords and fast movements but very little of the breathing and sniffing that can spoil listening pleasure. There seems to be a generous acoustic but no undue echo and in fact the music is allowed to take the full attention of this listener certainly.
The music.
Angela East opens up the CD booklet with a description of the six images she has used to reflect the varying textures, dimensions and keys of the six Suites.
Not surprisingly the first Suite is portrayed by waves and currents of the sea. The speed is slow at first and played with grace and feeling. There is clear contrast with successive phrases. A very exciting build to the climax with marked acceleration is followed by significant pause and final ritardando.
The Allemande is very laid back and restful rather like ripples on a small lake.
The Courante comes as a marked contrast with fast pace, very detached and rhythmic although quite varied in speed and dynamics. The hops down to low C are rather marked out and do keep the attention.
The Sarabande returns to laid back and calmness mood. The phrasing is very legato and smooth but there are spaces for plenty of air between the notes.
The two minuets are again laid back in mood with good contrast in style brought out.
The Gigue is very brisk and nimble with excellent articulation. This is in the style of many Red Priest recordings where the dynamics and excitement are emphasised. I particularly like the pause on the D of the penultimate bar followed by a rapid cadence. It all adds to the suspense of “What will happen next?”
Second Suite.
The second Suite is associated with an image of a bleak featureless landscape. The sombre tone of the instrument and gut strings underline this well. There is an impressive build up to the climax 16 bars from the end both in volume and slight pick up in speed. The remaining bars then gradually taper away with an improvisation around the final five chords. The Allemande as a contrast and in contrast with the first Suite Allemande is livelier and more articulated. Key notes of phrases are very carefully placed. The Courante is very rapid indeed sounding like the scampering of mice. However, the clarity of notes is never lost.
The Sarabande surprises or even shocks with some sforzando chords. The choice of which chords get this treatment seems quite random. Perhaps a way of keeping the attention. It certainly works in a movement that is played very slowly and might otherwise become turgid.
The Minuets are very stylish although I would have welcomed more contrast in the repeats.
The Gigue starts almost sedately but very articulated. It then speeds up quite dramatically towards the repeat of each half.
Third Suite.
The image for the third Suite is a grand staircase. Certainly in the Prelude, that fits the fall and rise of the C major scale. Again the phrasing is surprisingly smooth and flowing. Its almost as if a romantic cellist is trying to burst out of the Baroque exterior. Ms East demonstrates again her ability to create interest by building to a climax in the cross string mid section and then a gradual fading away still with dynamics to a non-dramatic final chord. Many other versions certainly seem to climax with the final line of this movement.
The third Allemande and Courante could almost be juxtaposed in terms of style with the Allemande being the more articulated and nimble of the two. The Courante has quite a laid back feel.
The third Sarabande sees the return of the sforzando chords and surprisingly this applies to the repeats. I would have thought a contrast would have been possible.
After the lively Bourrees the Gigue is a fest of dynamics varying speed and highly articulated quavers. Some notes sound like a pick axe has been used as opposed to a bow! Its interesting that I have come to this recording fresh from the first by Matt Hamovitz. There are a lot of similarities in terms of the rich variety of tone, dynamics speed and articulation. However, I have to say to bigger picture and general coherence of Ms East’s performance is more pleasing to my ears.
The remaining Suites.
I will leave the reader to discover the remaining Suites for themselves but suffice to say the features I have picked out are audible in the last three Suites. There is no evidence that I can pick out of the increasing challenge technically of these Suites limiting Ms East’s range and scope of variation.
The fifth Sarabande is perhaps rather featureless. Taken very slowly it does threaten to become a bit tedious. However, the very well tapered and quiet ending is contrasted with a swashbuckling first Gavotte!
Conclusion.
Overall, this is a thrilling listen. Well worth the sweat and toil to get it published. There is undoubtedly a strong desire to entertain and grip, but to my mind its done with sincerity and expertise. Not one to buy, if you seek an authentic Baroque recording but definitely one to acquire if you like spills and thrills in your Bach music.
Charles.