Jaap ter Linden, Bach Cello Suites. Brilliant Classics CD 93132 Released 2006
Recorded 2006 Remonstantse Doopsgezinde Kerk Deventer, The Netherlands.
Cello used for recording: Giovanni Grancino, Milano 1703.
The Cellist.
This is Jaap ter Linden’s second recording of the Suites. His first was released in 1997. He is considered to be one of Europe’s most prominent interpreters of baroque music. The accompanying booklet outlines in details his resume. There is also an interesting and lively piece from ter Linden himself about the “mystery” of the Suites. He rather neatly coins the idea that to perform the Bach Cello Suites one is “expected to be an architect as well as a storyteller.” This being a reference to the lack of definitive markings for speed, bowing and ornamentation.
Unfortunately, it tells the reader little about matters such as strings and bow used. Neither does it inform whether the cello was played with endpin in place. My tuning fork tells me the tuning is close to a semitone below concert ‘A’. I would have expected that detail in the notes of an “authentic baroque recording”.
There is no mention of the use of a piccolo cello and certainly there is no significant change in audible quality during the sixth suite. Videos of performances suggest use of baroque bow and no endpin. From the sound one can be sure that gut strings are used.
The Recording.
The sound of the recording is typically reverberant and impresses with a wide soundstage. There are plenty of breathing and tapping noises to suggest close microphone placement. The gut strings give the cello a rather scratchy sound. Apologies to purists for that comment.
Linden plays in a very relaxed style with few times of urgency or attack. With the tuning the sound is very sonorous and together with gut strings does convey at times the lumbering gait of a bear. That is not to say there are not times when the playing is brisk, since as we all know bears can move very fast.
The style of playing is interesting and a little puzzling. Whilst we are presented with a recording that is ostensibly in the “Baroque style” , (strings, and instrumentation) it actually is phrased and bowed in more modern fashion.
Direction of travel.
With this latter observation, there is little else that strikes me as being unusual. Pace and phrasing suggest to me a very considered interpretation. Unfortunately, whilst there were many parts to admire within each movement, I personally did not feel that I was able to identify an overall direction of travel. Neither could I feel a pulse in the music I was presented with. The end result sadly is that I was not drawn to this performance in any significant way.
Normally when listening to prepare a review like this, I take each suite at a time. Occasionally, the playing has gripped me so much I have listened to 3 movements without break, but on this occasion I often had to pause or go back within movements as I had either lost focus or fallen asleep! I realise this sounds dreadfully damming. However, I would point out that it has always been mine and Mark’s intention to convey our true feelings regardless of established views about artist’s performances.
Conclusion.
As always, music and how it impacts, is a very personal issue so have a listen and make up your own mind. If you connect with this performance, feel free to call me a Philistine!
Charles