Heinrich Schiff. 6 Bach Cello Suites for solo Cello.
Heinrich Schiff. EMI Classics 7243 5 74179 2 1 Re Release 2000
Recorded March to Nov 1984 Evangelishce Kirche, Seon.
Producer Gerd Berg DDD recording.
The Cellist.
Heinrich Schiff sadly died prematurely in 2016. I have dug out a programme for a concert I attended in London whilst at university:
My memory of the concert is not clear but he certainly filled the concert hall both with sound and audience!
He was very respected as both a soloist and teacher of the cello, and latterly was a prominent conductor. His recording of the Cello Suites won several awards and is often included in recommended lists by various critics and pundits. Schiff played the “Mara” Stradivarius and the Montagnana cello known as the “Sleeping Beauty.” Unfortunately, the notes with this version of the recording do not reference which cello was used and neither is there any commentary from the artist. I do think the latter omission is unfortunate. It can be very illuminating to read what a performer thinks about various aspects of the composer or the music in question. The link below is to an interview with Schiff in 1989, which gives some insight.
http://www.bruceduffie.com/schiff.html
General comments.
Review of this recording has been a strange experience. My initial impression was rather negative to say the least. The total duration of the recording is 2 hours 4 minutes and 59 seconds. This must be one of the shortest available although I am resisting the urge to produce a list of timings. I will leave others to do that!
All the repeats are included as far as I could tell. The Preludes particularly are taken at a rapid pace. This induced a rather negative feeling in myself as a listener. It seemed that the pace did not bring any benefits and glossed over some of the subtleties and beauty of these movements. However, on a second concentrated listen it became apparent to me that for the most part this accelerated pace works due to the amazing articulation of Schiff’s playing. There is rarely if ever any blurring of notes and his intonation is precise as is his timing. The phrase that kept coming into my mind was “surgical precision” particularly in the Courantes, Gavottes Bourees and Gigues.
Style of playing
If you aspire to a clean precise and measured interpretation, then this is one for you.
I would describe Schiff’s use of vibrato as sparing although he does manage a very rich and full tone. Less favourable certainly to my ears is a tendency to lunge into bass notes of chords particularly in the Sarabandes. I feel this detracts from the beauty and serenity of these movements.
Phrasing is interesting. I would describe Schiff’s playing as being like a monologue. This is not to imply tedium or boredom but the impression that there is only one voice. Compare with the likes of Tortelier. Tortelier to my mind uses a very conversationalist way of phrasing, which darts back and forwards from one voice to another in response. Fournier has a similar approach but using much longer sentences.
In addition, I would go as far as to say that Schiff’s manner of playing is quite didactic, by which I mean it is authoritative and assertive. Some of the phrasing is quite “probing” by which I mean a slightly tentative passage is quickly followed by a rapid bold and dynamic response. In many ways perhaps, Schiff emulates a confident and capable teacher.
In general, the range of dynamics which Schiff employs seems to be a little limited being mezzo-forte to fortissimo.
Specific comments.
The fourth Prelude stands out as one which I can’t get my head around. The phrasing Schiff uses feels a little wrong footed. The last quaver in each bar usually leads to the first (bass) quaver of the next bar. Schiff, for the most part seems to leave a small gap with the impression of starting again, which to my mind makes it rather disjointed. It may be that I have missed the point of what the performer was trying to achieve but recommend this particular movement as one to sample on a streaming service to see if it suits your ears.
In contrast, the 5thSuite Prelude, whilst sounding a little disjointed in the introduction, has sublime moments in the fugue section. Again Schiff’s articulations add an incisive quality. The 6thPrelude is where Schiff employs dynamics to greatest effect with contrasting piano and forte passages, echoing similar phrases.
Highlights of this recording are the Allemendes, which are graceful and rhythmic whatever the complexity of the writing. The third suite Allemende in fact sounds a little like a march, which to my mind is preferred to some of the slow meanderings that one can hear in other performances.
In the Courantes, the articulation and pace brings about some sublime passages. Particularly where there is cross string repeated progression of broken chords. Specific examples are in the second and fourth Suite. As hinted previously, I found the flow of the Sarabandes generally disrupted by the heaviness of the double stopping and chord playing. Even the famous 5thSuite Sarabande is a little fast for my preference.
The Gavottes and Bourees are generally nimble in feel and certainly retain the dance rhythm well.
Conclusion.
Overall, this performance may well be attractive to some particularly those who feel they are looking for well articulated playing, no undue sentimentality or romanticism and a train to catch!
Charles.