Rolf Looser. Bach Cello Suites. Reviewed from Tidal streaming. CD release 1992 Powder CD5129/31. Original vinyl release in 3 volumes VDE LY 3007/1-3.
Release of original recording June 8th 1970
Venue of recording and other details unknown.
Introduction.
This is another recording of the Suites from relatively early days, where the original vinyl release was in limited numbers and for that reason is highly sought after with each of the three volumes fetching sums of over £500 in mint condition. There is a CD release from 1992 which appears to be difficult to source. Now days we can all listen via the various streaming services for few pence! If you need high resolution download, then check out this link.
The cellist.
Rolf Looser was born in Switzerland. Interestingly, he is one of five Swiss cellists to record the Suites before 1970. That is out of only 13 recordings in total! I am curious as to why there has been such a predominance of Swiss cellists in this era. Collectively, these recordings were made on Swiss labels in small numbers but appear to be of high quality. It may be that Swiss neutrality in World War 2 allowed the arts to flourish in the 40s and 50s at the time these cellists were developing their skills.
Looser appears to have stayed close to home for his performing and teaching career and in addition, composed.
Of the five Swiss cellists only August Wenzinger, appears to merit a mention in Margaret Campbell’s book “The Great cellists”
The Recording.
Having been listening to a number of recordings from the 60s and earlier, the advances in studio techniques as apparent with this release. The stereo recording makes itself apparent with a much fuller soundstage and the cello is less pinched in its tone than many earlier recordings. The cello sounds well set back but sounds expansive.
The music.
The interpretation here is typical of its time with strong vibrant tone but with vibrato used sparingly. The phrasing is mostly legato. Faster movements are played with good rhythm, but articulation is not particularly noticed.
Speeds are very much in the middle ground with little to arouse note.
The first Suite stuck out for the reason that the first notes in every bar appear emphasised to the extent that it jars a little. Fortunately this seems to be confined to this Suite only. Even the fourth Suite is played with restraint but maintains momentum and rhythm.
Sarabandes throughout are played slowly and with very sustained tone and phrasing. This is a little wearing to my ears and certainly not how I imagine Bach conceived them!
Specific comments.
The fifth Prelude is a highlight for me with Looser’s tone well suited to the intial section. The speed is amongst the slowest I have heard but the momentum is maintained and the phrasing impressively sustained such that the whole section appears seamless but with very musical shaping. The transition to the fugal section is effective with a good pick up in the pace and each element clearly defined. I understand from several sources that Bach may have been depicting Christs crucifixion with this Suite. Whether that is the case or not, the music conjures up the image of Christ walking up the hill to a place called the “Skull” with the burden of his cross. His slow death on the cross and the storm that came over at the moment of his death are well depicted by the stormy final bars in the lower registers of the cello.
The fifth Sarabande does sound bleak and the pace is well judged. The progression of quavers does have a very deliberate feel as if treading very carefully. Vibrato is restrained.
The sixth Suite Prelude is not as exuberant as many but well executed and an impressive sustaining of tone throughout but with good articulation of the cross string passages. I particularly like the contrast in dynamics suggesting echoing of each phrase. I suspect this is a repeated point of debate for purists who point out these dynamics were the only dynamics appearing in the Anna Magdalena manuscript. A number of historically informed recordings seem to pass over these annotations.
Throughout I was unaware of any significant technical limitations.
Conclusion.
I am aware that this is a short review but that should not lead the reader to overlook this recording. In many ways it is a good introduction to the Suites and is played in a highly musical style. If you have a good streaming set up, one to check out. It’s a version that calls out for CD re-issue!
Charles.