Jean-Guihen Queyras. Bach Cello Suites. harmonia mundi HMC 901970.71 2CD and DVD set.
Released 2007. Recorded March 2007 in the Eglise Saint-Cyriak, Sulzburg. Produced by Cecile Lenoir.
General comments on the recording.
This release has a crisp dynamic sound which will flatter your sound system. The frequency range is evenly reproduced to my ears. There is a significant echo which adds a certain ambience to the sound thereby giving a very impressive first impression when listening. I noted after watching the accompanying DVD that even the opening and shutting of the cello case resonated strongly. This was not at all surprising given the high ceiling, stone walls and floor and emptiness of the Church in which the recording was made!
DVD interview.
Also in the interview filmed on DVD I was interested to hear that the Suites were recorded over 6 days to lend a live feel to the recording. This being the case the recording is testimony to Queyras’ technique and virtuosity as there are no significant mistakes or fraying at the edges that might have been expected from this schedule. Equally I did not sense a seat of the pants journey through the Suites which might accompany a totally live performance.
Queyras successfully maintains at all times even in the complex later Suites the sense of dance moves. Perhaps just as well as I understand he does perform live with dancers on occasion!
The music.
As hinted above, these are performances which have a very impressive impact from the off. The Preludes excite and impress. The Courantes fly by almost without feet touching the ground as it were. Similarly the Gigues have zest, rhythm and punch. The Allemendes by contrast tend to be played slower by Queyras than many performers. Queyras also plays the Allemandes with significantly more legato and longer phrasing. Perhaps I would suggest, in the manner of Pierre Fournier. Thereby providing a contrast to the preceding Preludes and subsequent Courantes.
The detail.
Of specific note is the Courante of the third Suite which is played in a manner which gives the impression at times of being played by two cellos.
Some reservations.
I did find the pace of some of the Allemandes a little too slow for my liking. The fourth Gigue seemed so fast it was almost in danger of tripping over itself at times. In the Sarabande of the fifth Suite there was a significant lean into the first note of many bars which without vibrato still gave a sense of richness which perhaps diminished the barren feel this movement can impart.
Conclusion.
Overall, this performance confirms the virtuosity and musicianship of Queyras. Repeated listening did leave me wishing for a little less echo in the recording. Although this undoubtedly enhances its impact it does also slightly muddy the sound. This, I noted particularly in the fifth suite with the down tuning of the top string increasing the mid frequency profile of the piece. This niggle apart I do feel this recording merits its high standing and definitely worthy of the high esteem with which it is generally held.
Charles.
Jean-Guihen Queyras Bach Cello Suites (Harmonia Mundi HMC 901970.710) Recorded 2007
This is a brief supplementary review to that by Charles as I agree with much of his findings.
I well recall when Charles first played this set (in his car no less!) he texted me soon after to say he had found his new best so far. At that time, we probably had amassed no more than 20 or so reviews and obviously his review shows that time has tempered that lofty standing somewhat. It’s worth noting that whilst Queyras was a known cellist at that time, he certainly was not one of the big names that would readily spring to mind. The delight in finding such a set I am sure encouraged future explorations into the highways, byways, and frankly virtual unknowns of the performing world. Charles in particular has undertaken this with gay abandon as evidenced by many such performer reviews. Sometimes this has produced delightful surprises, sometimes it has proven difficult to find redeeming qualities (Charles is more adept at the latter than I am!)
Turning back to Queyras, I was surprised charles never referred to the cello itself – usually a significant factor for him. For completeness, Queyras uses a baroque cello (Gioffredo Cappa, 1696) but the booklet text states “with a modern set up”. Despite this hybrid instrument, I thought it was a thing of true beauty, with a rich sound throughout the registers. Charles notes the echo from the body of the church, which is indeed significant and potentially overwhelming at times. However, I do love the sound of a solo cello in a church acoustic so am happy to accept the trade off.
Queyras plays with plenty of Gallic lilt and charm, with slow movements that soothe, whilst providing quick movements that dance and excite as required. I found he managed to communicate a natural pulse, which was maintained throughout the set.
My reservations as such are twofold. Firstly, there are a few times where I would like a lighter sound to a movement. My favourite movement, the 6th Suite Sarabande, would be a good example. It is played a bit too full and thick sounding for my liking. However, this is a matter of personal preference and others may enjoy its richness. My second reservation is a big one and sadly frustrating. There are several movements in the set where my ‘bête noire’ the dreaded finger tapping (producing a sound akin to “phuts”) rears its ugly head. This occurs even in movements where I can’t see a reason why they might arise (e.g. 5th Suite Allemande). Quicker movements, or ones requiring deeper digging into the strings maybe, but why here?
Despite the above reservations this is a hugely enjoyable set, enhanced significantly by the inclusion of a dvd documentary of the recording, allied to a performance in situ of the 3rd Suite. Unlike many ‘sweetmeat’ dvds thrown into cd sets to encourage purchase (which are frankly often lacking any worthwhile substance) this one truly enhances the understanding of the recording.
In summary, if it wasn’t for the intrusive tapping in the performances, I have no doubt that Queyras’ set wouldn’t be just knocking on the door of my ultimate top 5 recordings, but battering them down! Sadly, I can’t personally ignore that aspect, but will no doubt still return to the set periodically to revisit the many felicities that are still contained within.
Mark.