Robert Cohen The Bach Cello Suites Vols. 1+2 (Collins Classics 13792/13802) Rec.1990
Introduction.
It appears that Cohen’s set of the Suites was originally released as 2 volumes. The first encompassing the odd numbered Suites and the rest on the second volume. Since then they have been released as an integrated set. In addition, also recycled much later on by budget labels Regis and Alto. This suggests that they are considered as interpretations meriting some longevity.
They were recorded at Snape Maltings, a renowned recital hall in Suffolk (UK). The acoustic comes across as quite natural.There are no hints of studio jiggery pokery having been applied in production. Cohen also had the benefits of playing the “Bonjour” Stradivarius of 1692 (2018 valuation around $18 million!) which can’t have done any harm.
The Cellist.
Cohen’s teachers included at various points Pleeth, Du Pre, Navarra, and Rostropovich which cannot have been detrimental in his development. I am aware that whilst perhaps not having a front rank international profile he had as a teenager made a recording for EMI/CFP of the Elgar Concerto in 1976. This was met with many plaudits.
The Intepretation.
So, I was intrigued to see what he makes of Bach several years further down the line.
I naturally tackled Vol.1 the odd numbered Suites first. A number of impressions quickly form. Firstly, these are very smooth readings with attention paid to long flowing lines. After that there is general avoidance of any overly spiky rhythms even in faster dance movements. Secondly, there seems to be a fairly limited dynamic range. Cohen avoids extremes in typically quieter or full on passages. I didn’t take long to find I was writing down that dreaded faint praise word “nice”….The playing itself is admirable but I don’t find that it is in any way challenging me to sit up and take note.
Clutching at straws.
Clutching at straws for movements outside of this view to comment on, I did come up with the following. Firstly, the 1st Suite’s 2nd Minuet is taken very slowly. Secondly the 3rd Suite’s Gigue sounds like a Morris Dance. Finally, the Sarabande of the 5th Suite performed almost as an unbroken thread, does at last have some filling out of the sound.
Next, I turned to Volume 2 containing the even numbered Suites. I admit by this time, my attention was wandering and I had started to read whilst listening. That may have been unfair, as I have a vague feeling that things had livened up a bit in Suite 2. Maybe for the rest of the disc too. I suspect Suite 6 in particular merited closer attention. Perhaps things would have been different if I had started my listening with this disc? However, the die was cast and attention wise I was finding Daisy Jones and the Six was proving such a good read. So……
Conclusion.
In conclusion, I appreciate that for many this relatively undemanding listen may be just the job and could even be a good initial springboard to more demanding and searching interpretations. Perhaps the best way I can describe it is that it would suit those listeners who particularly enjoy listening to Smooth Classics on Classic FM. Nothing wrong with that, but it’s just not enough for me personally now I have become acquainted with so many other stimulating versions.
Mark.
Robert Cohen Regis RRC 2001 released under licence from Collins released 2000.
Recorded at Snape concert Hall Aldeburgh Suffolk 1990 DDD.
Cello used for recording The Bonjour Stradivarius
NB Running order on cover differs from that on the discs.
A Memory to start.
A little before Cohen released his Elgar concerto, in 1975ish, I had attended (in the audience) a Jacqueline Du Pre masterclass. Interestingly, one of the pupils was Robert Cohen!
Introduction.
This is now the 19threcording of the Bach Suites that I have reviewed for this web site over the course of the last year.
The Recording.
I have to say it has been one of the most revelatory. This is not in the sense of the insight the performance gives into the music, but the impact that the quality of the recording can make in one’s appreciation of the music. I initially listened to a CDR disc, then Spotify, and then the disc listed above bought used for the princely sum of 50p plus postage! In that order my view was that this recording was wanting, then average and then truly excellent!
I am quite prepared to believe that my mind is playing tricks but I believe this experience underlines two things.
Firstly, that different issues of the same recording may be remastered in varying ways. This includes using different master tapes, compression and changes to equalisation (frequency balance). This can make a tremendous impact on the end product in terms of enjoyment. The quality of CD replay in our homes can make a great difference to the musicality as well, but there is only a limited amount most of us can do about that.
The impact of repeated listening.
Secondly, repeated listening can have different effects. Sometimes there are features such as excessive low end, scratchy tone or extraneous noises which begin to grate with repeated listening. At other times a performance can grow and grow on one and it is in this category that I would place Cohen’s recording.
Initially, this performance seems pretty much run of the mill, but with a lovely sonorous tone and acoustic that flatters. Anyone who has been to a Snape Maltings concert would not be surprised. Nothing on first listen seems to stand out or grab one. However, on repeated listening it becomes very apparent that this is a very carefully prepared performance with many refinements and nuances which draw one into the music.
A steady pair of hands.
In general, there is excellent articulation, tone is very even and tempo changes restrained. Cohen keeps a steady pulse throughout. The first disc with Suites 1,3 &5 seems quite restrained and laid back. The second disc seems to be where Cohen has cut loose a bit. There is an impression of more energy and an almost live feel. I suspect recording will not have taken much more than a day or so as to monopolise a hall as large as Snape Maltings would have been most extravagant!
Highlights.
Highlights for me are the Prelude of the fifth Suite which starts with great gravitas, contrasting with a nimble and light fugal second section. I enjoy the Sarabandes which are played with flowing lines and almost prayerfully. The Gigues perhaps just lack that extra bit of zest.
Therefore, particularly for the 6thand final Suite I am left wanting a bit more particularly as the 6thPrelude is so impressive.
Conclusion.
So definitely one I would recommend. However, do give it at least one repeated listen before discounting if initially it seems not to be to your taste.
Robert Cohen is clearly primarily into teaching now. His web site below gives insight into his methods.
Charles.