Bruno Cocset. Bach Cello Suites. alpha collection CD Alpha 301 Re Issue 2015. Original release 2001.
Bruno Cocset plays 4 cellos by Charles Richè after Gsparo Da Salo, Guanrnieri, Stradivari and Amati. Unspecified baroque bow and gut strings.
Recording: between 2nd and 7thOctober 2001, at Chapelle de l’Hôpital Notre-Dame Paris.
Introduction.
The release I review here is a re issue of the original 2001 recording. I think it well packaged. There is an illuminating interview with the performer conducted in 2015. The rational for using four different cellos is explored. On the surface, it is the most remarkable aspect of this recording. I have to say that due to both my ears and my sound equipment, I am unable to discern any significant difference in the end result. However, I’m sure it is an honest attempt to address the real differences in mood and style that exist between the different suites.
Firstly, I am surprised, having recently bought myself a new bow that Cocset did not use a variety of bows. Having tried out a number I am convinced of the variation and impact on sound production. However, it is likely more apparent to the performer than the listener.
The Cellist.
As an exponent of the Baroque Cello, Cocset attracts a lot of respect, having studied with Anner Bylsma. The sound he extracts from the four cellos I would describe as sweet, not unduly raspy and full bodied. In addition, this is helped by the generous echo of the recording venue.
The Music.
First and foremost, there are some generalisations that I feel apply to the style and nature of this recording. Preludes and Courantes, Bourrees and Gigues are all fast moving. Well articulated but significantly, particularly in the sixth suite a little untidy at times. The slower movements are very stylish and shaped well. I feel Cocset, executes the fifth Sarabande very sensitively. I perceive liberal (perhaps too liberal) rubato, and significant sense of rise and fall in the rhythm of most movements.
However, sometimes, liberal ornamentation by Cocset impairs the flow of some sections particularly the Sarabandes.
At this point, I would suggest that whilst not a stand out recording this release is worthy of exploration particularly by those who enjoy historically informed performances.
BUT, there is a very big caveat to that! The intrusiveness of finger board noise and breathing sounds is the greatest of all the recordings I have so far encountered. No doubt, to a large extent, this is due to close microphone position. I suspect it is also a consequence of conscious intent. I know from personal experience that it can be very satisfying to make a lot of noise with the left hand, by using the fingers as percussive instruments, but I cannot honestly state it improves the humble sounds I make!
Lets talk about running!
Anyone who goes to a gym will be familiar with the huge variation in noise that runners make on the treadmill. Some are almost silent and others really pound the platform. I believe that the noise they generate indicates a poor technique which places the runner at risk of developing damage to the knee joints as they jolt and jarr. Above all, I do hope the same does not apply to cellists’ fingers! I can imagine that a case could be made for the percussive action improving the sound articulation. Never the less, plenty of superb performances exist with minimally intrusive fingerboard noises.
Conclusion.
In conclusion, unwanted fingerboard noises spoil an otherwise worthy performance.
My fellow author Mark finds the issue so disturbing he was unable to listen to the CD!
Charles.