Jan Vogler Bach Cello Suites Sony Classical 88697892572 Released 2013 Recorded 2012 at Suny Purchase, New York.
Instrument used was the Stradivarius ex Castelbarco-Fau.
The Cellist.
Jan Vogler I suggest, is not a household name. At least not in my household. However, on the basis of this recording, he should be, so hats off to those who already recognise his prowess! Being now in his mid 50s he is very well established as a major recording artist. He has included in his recordings a project with his good friend Bill Murray called New Worlds, a recital of classical music and spoken word.
The recording.
What do I like about this recording? Firstly, the first class sound quality which captures the wonderful tone and resonance of the instrument. Secondly, the very honest feel of Vogler’s interpretation. Sometimes, with major cellists one can get a sense that the recording is stamped with a very individual imprint which would leave little doubt as to the performer. Examples of this would be Fournier, Tortelier, Maisky and Ma.
More Bach.
In this instance I would suggest that Vogler has used his undoubted skills of technique, interpretation, and musicality to present us with the music of Bach and very little of Jan Vogler.
To a large extent this is very welcome. The risk of a recording that might be accused of sounding anonymous is mitigated by great attention to phrasing, light and shade, rhythm and poise. An image comes to me of a master craftsman who is restoring an old piece of furniture to its former glory rather than a new piece with a radical new style. Ultimately the furniture is admired rather than the undoubted skill of the restorer.
Notes.
The accompanying notes that Vogler himself wrote for this release are refreshingly free of jargon and pretentiousness. He is clearly enthused by the instrument he plays and the fact that it was crafted during the lifetime of Bach. He brings something new to say about the Suites which is unusual and in the process underlines the natural feel to his interpretation. Indeed, he talks of letting the cello take over.
Some detail.
The sound very rarely becomes forced or pinched. Particularly in Sarabandes and Allemendes this means a relaxed and comfortable listening experience. Many times during auditioning of this CD I felt immersed and aware of freely flowing lines.
Conclusion.
This is not a recording that makes any claims to be historically informed, neither is it excessively romantic. It seems to rest squarely in the mainstream of current releases. To my mind, it is certainly one to consider. Especially as a starter if you have no other recordings of the Bach Cello Suites. There is a strong likelihood you may never feel the need to acquire another one!
Charles.