Bach Cello Suites Review.
Mstislav Rostropovich. Warner Classics Catalogue no 0190295968489 .
Limited edition Vinyl boxed set issued 2016 licenced from Parlophone Records.
Recorded in 1991 at Basilique Sainte-Madeleine, Vezelay, Yonne, France
Rostropovich is credited as executive producer.
General comments of the recording.
One of the pleasures of listening to Bach Cello suites on vinyl is that the full tone and timbre of the cello are brought out. This, without harshness and glassiness often experienced with digital sources particularly in standard CD format.
By and large, this proves the case here. Apart that is, from firstly a couple of pressing faults on disc one and secondly, an audible blister on the surface of the vinyl.
The quality of this box set is otherwise excellent. Very low levels of surface noise and very few audible pops and clicks. The dynamic range is good although not dramatic. The overall mastering suits my system in that there is no obvious favouring of top or bottom frequencies. I am pleased to note high quality inner sleeves with anti static polythene. There is a very comprehensive booklet which even includes a couple of lesser quality colour pictures!
Past experience.
I came at this review from a position of holding Rostropovich in high regard. I was lucky enough to hear him perform Dvorak’s Cello Concerto at the Dome in Brighton in the mid 70s. He would have been at his peak, at about 50 years old. I remember great presence, skill and most of all his magical pianissimos. Unfortunately, I have come away from this recording rather underwhelmed and a bit disappointed.
Do you favour rich tone, strict adherence to timing, more sedate tempos and great technical mastery? Then you may find this rendition by Rostropovich attractive and satisfying.
However, I felt there was a lack of soul and ultimately “swing”. By swing I mean the rhythmicity that characterises the performance of the Bach Suites by many others. It’s like the feeling the listener derives from listening to a really good jazz, soul or blues musician. Difficult to quantify but definitely there. I have tried to put my finger on the issue.
The nearest I can come, is that I observe a tendency all through the Suites for Rostropovich to play with great precision. The timing of every note is very regular. It is almost as if the Suites are played as a study rather than a piece of performed music. That may be a bonus for one fed up of the liberties with timing taken by some performers. But for me personally, it does detract from the performance.
My case.
I would contend that Rostropovich may have struggled with his performances of the Cello Suites. The evidence I would present include:
- This 1991 recording was the first studio recording of all 6 Suites issued at the age of 64. There is a studio recording of the 2nd&5thSuite from 1959 approximately and a live recording of the 6 Suites from 1955. In the notes to the release reviewed here Rostropovich himself states of his earlier releases: “I cannot forgive myself-I acted rashly”. He does not go on to explain.
- Although this recording was made in 1991, it was not released until 1995. Surely, if the performance was felt to be of the highest standard by both performer and record company there would not have been this delay.
- A further quote from the interview with Rostropovich: “ I know my interpretation is not perfect-we’re a long way from playing Bach to perfection. From my many friends I have learnt that I must search for a golden medium between a romantic, rhapsodic interpretation of Bach and scholastic aridity. It isn’t easy of course. It’s hard to find something the heart responds to and which is not artificial to one’s own nature.”
Conclusion.
I suspect that Rostropovich may have been somewhat overwhelmed by the magnitude of the task. Perhaps others lacking his intellect may have blossomed through innate musicality unhindered by doubts? At the end of the day I fear that scholastic aridity won through.
Charles.