Lucia Swarts. Bach Cello Suites. Challenge Classics CC72784. Released 2019.
Recorded at Koepelker, Renswoude Netherlands. Recorded sequentially at intervals between June 2017 and September 2018.
3 Instruments used: details in supplied booklet. A cello piccolo used for Suite six.
The Cellist.
Lucia Swarts studied under Anner Bylsma at the Royal Conservatoire in The Hague. She is a leading light in the Netherlands Bach Society. This organisation has been behind a number of recordings of the Suites.
The booklet suggests that Swarts is well versed in all periods of music. Specifically, in historically informed performance of Baroque music.
The precise set up of her instruments is not detailed. Nevertheless, I feel it safe to assume that a Baroque style bow, absent end pin and gut strings are all used. Videos of her performing show her using a baroque bow held over the bow but a significant distance from the frog.
This is a typically modern recording with close microphone technique and fair amount of resonance from the surrounds. I was impressed by the lower registers especially. However, there is significant rasping of upper registers particularly in fast and louder passages. It is certainly a recording to demonstrate a good hi fi set up with considerable presence and tonal detail.
The Music.
Listening to this performance I was left with an overriding impression that this is a hugely considered and sincere interpretation of the Suites. It feels as if every bar is carefully analysed and each note played in a deliberate and specific way. There is no suggestion of phrases being thrown away or left to chance.
I was struck by the swings in timing. These are quite marked particularly in the Preludes. In many Baroque performances there is a gentle rise and fall in the phrasing. Swarts seems to use a more exaggerated form of phrasing which I can best describe as stretching the sound like an elastic band!
A phrase can start to slow gradually but then more noticeably and then suddenly speed up until she gets back to the baseline speed.
This is just like the tension in an elastic band. It stretches to a certain point slowing at its end point. Then, on release rapidly regains speed until reaching its stage of flaccidity.
Gut strings.
The other characteristic of this recording is the raspy sound from the gut strings. If one reads about the use of gut strings there are obviously those who rate them very highly. Primarily for the beauty of the sound and the additional harmonics generated.
There are recordings of historically informed performances where the amount of rasp is much less than here. I cannot make up my mind whether in this case it is a feature of the recording, the playing or even perhaps my hi fi system.
What I do notice is that the second Suite particularly has much less noticeable rasp and sounds very delicate. Similarly the fourth Prelude is played in a very refreshingly light and dainty manner. This contrasts markedly with some other performers who literally sound as if they are gouging out each note!
Conclusion.
Overall, this is a performance that I respect greatly but not one that I completely enjoyed.
Other niggles were that some movements became disjointed due to the timing variations. A lot of movements lacked a swing to create in my mind the dance nature of the music although there was no lack of rhythm and articulation. Particularly in the Sarabandes, there was a tendency to “lunge” into the chords.
However, if you are keen on authentic performances I am sure you would find much to enjoy in this recording so do check it out.
Charles.