Jean Guihen-Queyras Complete Cello Suites (Harmonia Mundi HMM 902388.90) Recorded 2023
This is Queyras’s second recorded cycle of the Suites. In both cases there is a bonus filmed disc. The first bonus disc entailing a performance of the 3rd Suite, plus a behind the scenes documentary. This time the bonus disc (not yet watched) consists of a choreographed dance performance to the music as played by Queyras, an approach which mirrors Ma’s mid 90’s second traversal of the Suites, which was made with creative artists and filmmakers. Queyras’ performance was filmed in July 2022, whereas the audio recordings were made in October 2023.
One is tempted to presume that the former multimedia presentation would inform Queyras’ following recording, but in the accompanying Notes he states that it was “indicative of a turn in direction”. Both Queyras sets were made on the Harmonia Mundi label. Interestingly, he also opts to use the same cello for both sets, a Gioffredo Cappa (1696). This is used in all the Suites, passing up, like many others, the opportunity to use a 5 string one for the 6th Suite. There is a 16 year gap between his two recordings of the set. The venue this time is a Mennonite Church in Haarlem, Netherlands.
Turning to the 1st Suite Prelude, Queyras immediately establishes a template for his approach, utilising a steady pace, but with significant dynamic variations used to good effect. Something else is at play too…Queyras appears to, not just be churning out a relatively simple recreation of a sweet melodic line. Instead, he seems to be in an act of recreation in the moment. There is nothing crass going on though, quite the opposite, and I was already very keen to see where the journey would lead. I should add that his cello was still sounding rich, deep, and burnished.
There was also evidence of the Church acoustic having a fair amount of reverb to support the harmonies flowing out. The recorded cello did sound reasonably closely miked though, feeling like an “as there” listening position as equivalent to only a few rows back in an auditorium. The Allemande and Courante contained more gems, with a vast colour palette already noticeable, and a delightful use of hesitations added character to the latter.
Both the Minuets and the Gigue were taken at a moderate pace, but boy does the Gigue dance. I have not heard variety like this before in the 1st Suite. So far then, a veritable home run!
The 2nd Suite Prelude has a lovely ebb and flow to it. I did write down that some may like more vim in the playing, but not me as I prefer to savour the journey rather than miss Bach’s amazing felicities inherent in the Set. At this point I was starting to feel Queyras’ reading was akin to Ma’s 3rd recording of the Suites. I have that in my overall top 5, but that was even more introspective in style. Queyras, for his part is not losing sight of the need to entertain.
He attacks the Courante of the 2nd Suite with gusto, although it doesn’t feel as fast as Thomsen’s version, which I recently reviewed. Queyras for me though has greater variety in his playing. The Sarabande seems deeply felt, with room to breathe, lovely harmonics, and a gorgeous fade at the end. There is an unusual, but effective start to the 1st Minuet, where he seems to be recreating a lute sound utilising plucked strings. When we get to the closing Gigue, Queyras again adopts what can best be described as a measured pace. I wrote down that it felt like he was presenting Bach as a calm, relaxed composer, not the grim faced, grumpy chap he was reputed to sometimes be.
The 3rd Suite Prelude again didn’t seem as emphatic or pacey as some. However, this gives the opportunity to bask more in the sounds. I wrote down “there is magic emanating from the cello”. When the sound thickens towards the end of the Minuets he does quicken the pace but meets the challenge with aplomb. The following Allemande had a cheeky jauntiness to it, with Queyras clearly bouncing the bow off the strings throughout. In the Sarabande the sound seemed to inhale and exhale, which seemed as it should be. The Bourrées were akin to Ma’s 3rd Set, contemplative in style, and the venue again seemed to aid the gorgeous overtones. I also noted down “the colour palette is sensational”. A perky rather than forceful Gigue completes the Suite and, not for the first time, Queyras signs off in a delicate rather than a more emphatic ending.
Suite 4 began with a bold sounding Prelude which, nevertheless, conjured a real lightness of feeling. Just preceding the rapid scurrying passages though, he pared the sound right down, and gradually built it up towards the close. Those who wish for a sharply edged performance of this Movement might be disappointed. Personally, I loved it. The Allemande clearly highlighted Queyras’ masterful use of rubato, which in truth is prevalent throughout the Suites. Everything felt natural, whilst still seeming to be “in the moment”. The Courante scurried rather than dashed, but still made me think of a little child playfully scampering around the house. For the Sarabande, Queyras leaned into phrase endings. In my mind it conjured a beautiful picture of a melancholy heart yearning for the quick return of its absent lover.
For the Bourrées I wrote down “Boy does this dance!”. They were full of individual little flourishes, and the control of dynamics and rubato seemed to me just right. In the 2nd Bourree I loved the way Queyras brought it to a halt on a whisper before the return of the 1st Bourree. In the closing Gigue, Queyras does for once opt for a more continuous flow at a decent lick. Not as fast as many though, yet he shows there are other ways to create excitement.
The 5th Suite Prelude is oft presented as a full-on drama in itself. Queyras doesn’t come across like that, but he is still telling his story. He doesn’t dwell as long on the opening spread notes as some others like to do. Also, he opts to use more sharply edged phrases. Despite this, there was still a smorgasbord of colours and overtones on display. Just prior to the closing bars, I pricked my ears up as he seemed to adopt his own quirky touches to the piece. I enjoyed them but they are best listened to than explained! The Allemande was full of deep groans and gentle sighs. Some may find his style here a bit fidgety though. I will mention that the dreaded percussive tapping on the fingerboard was prevalent here (in truth throughout the set). However, I confess the quality of the set, for once, meant it in no way diluted my enjoyment!
Jumping to the Sarabande, Queyras again pared the sound right down. Very mysterious, and wonderfully effective. I also heard a plucked accompaniment to the flowing melody I don’t recall being spotlighted before. In the Gavottes the 2nd doesn’t scamper as hectically as some, but there was still plenty going on. In the closing Gigue, Queyras is once more not afraid to linger to allow for a clearer view of all that is being found in the music. I noted that his view of the music was no mere Cellist’s exercise piece. The Suite ended with a delicate sign off.
Turning to the 6th Suite, where Queyras eschews the option of a 5 string cello, the high notes in the Prelude are not as gleaming and sweet as that instrument might allow. Yet, there is more than ample compensation with a kaleidoscope of colours on display. I could want for nothing more. As far as my aural memory allows, I believe this highlight of the Set (granted amongst many others) is the best version I have heard. To follow that with the flag bearing Allemande seemed unfair. However, I was not in any way disappointed. Suffice it to say, I think this is a match for much feted Isserlis’ version which, as far I was concerned was by some distance, the best part of his highly regarded Set. Queyras presented a natural, beautiful, and gracefully flowing line throughout. I was deeply moved and put my pen down, sat back and closed my eyes…
The Courante was perky and then came the Sarabande (as some readers will have noted my own favourite movement). As in his 1st Set Queyras doesn’t approach the Movement particularly quietly, which given the consistent approach he takes in the pair, must be a specific choice he has made. I personally respond better when the sound is gentler and contemplative, but it was still an effective performance on its own terms. He does despatch it rather quickly (coming in at only 4 minutes 31 seconds) which again felt a bit quick to me. Truthfully this Movement was only one of two in the Suites where I might question his decisions.
The Gavottes dance along with much imaginative bowing in evidence. When I arrived at the final Gigue, it’s fair to say that at the start some have used a more emphatic tread signposting the closing passages of the work to come. Queyras adopts a moderate speed but permeates it throughout with sudden spurts that I found truly exciting. My second and final tiny frustration in the Suite was the closing statements do lack emphasis and the final passages seem to just peter out suddenly. More rubato and accenting might have helped here, but I am nitpicking a little, as the Set overall had proven a wonderfully invigorating and searching interpretation.
In conclusion, Queyras took me on a journey that was thought provoking, yet not cerebral or cold. His command of his instrument’s colours, tone, harmonics and so on is eye opening throughout. The 6th Suite had the greatest highlights, yet also the (frankly mild) disappointments, showing yet again that no reading can ever be a perfect one. However, this one leapfrogs into my ultimate Top 5 recordings of the Suites (with apologies to the relegated Mr. Watkin, whose version is ultimately in no way diminished). I will leave it to Charles to establish what, if any, other lists of ours Mr. Queyras might move into!
Mark.
Further thoughts from Charles:
I agree with Mark especially regards the standout sixth Suite. I do feel it worth emphasising the nature of the “enhancements” that Queyras has introduced. To term them ornamentation is an understatement. Yes there is ornamentation, but so much more than typically used to distinguish repeat sections. More than ornamentation, there is harmonisation and improvisation -like additions. All done in a very dextrous manner maintaining the legato line and releasing the serotonin in our pleasure centres!
The only possible drawback from this, and the lovely flowing style is that the implied polyphony and overall sense of direction is sometimes not as clear as in some more orthodox renderings.
Nevertheless, this is I feel a landmark recording which stands out in a very positive sense as a very different approach to the Suites and very welcome.
Charles.