Yo Yo Ma. Bach Cello Suites. Sony Classical, S2K 63203 Released 1997.
20Bit DDD recording.
Recorded in a variety of venues between June 1994 and August 1997. Full details in accompanying booklet.
Introduction.
This is the second of three recordings of the Suites by Yo Yo Ma. The unique feature of this release is that it is a project designed to generate six specially commissioned films. Primarily to illustrate how the music of the Bach Cello Suites can “Inspire”. The end result being creations of a largely visual nature.
These range from a garden installation for Suite one to ice skating dances for Suite six. The booklet does describe the creative process in some detail.
My intention is to confine my comments to the music alone. Although, When the recording was first released, I remember watching a series of programmes on television where the films were premiered. I was mightily impressed! The music and the films certainly seemed to compliment each other well.
Does vision influence what we hear?
This does raise the issue as to how the impact of music can be enhanced or diminished by concomitant visual input. Put simply, if both the music and visual experience release chemicals in the brain to give pleasure (endorphins) then there is increased enjoyment. If one or the other jar or create conflicting emotions, the pleasure “hit” is reduced. Thereby, less than visuals or music alone.
This link provides evidence to support my proposition and goes further in suggesting that the visual impact is stronger than the auditory impact.
https://www.pnas.org/content/pnas/110/36/14580.full.pdf
The Music.
Bach to the music! I recall attending a concert given by Yo Yo Ma, very early in his illustrious career. I believe it was promoted as his UK debut. It took place at the Brighton Pavilion as part of the 1977 Brighton music festival. The main piece performed was the Schubert Arpeggione sonata. He made a very favourable impression. Some would now consider him to be the foremost cello virtuoso of modern times.
However even at that time, his performing manner with his seating himself as far back in the chair as possible and the cello closer to the horizontal than usual raised eyebrows!
Overall comments.
It is interesting that without visual clues the recording presents as very coherent and consistent across the six Suites. This surprises given the many different venues used and the long time (three years) to complete. The performer and production team are to be complimented on that.
However, what I do find strange is the splitting of the fourth suite across the two CDs. This is clearly due to the length of the last two suites which mean the limit of CD data storage would be exceeded. The lengthy Allemandes are the culprit I suspect. Other artists have tended to deal with this by putting two of the earlier shorter suites with the lengthy sixth.
Why not a third disc?
I have to say I prefer this option to the one chosen for this recording, but feel stretching to a third disc perhaps with some other extras such as video using enhanced CD would have been justified for such a major release.
The performances given by Ma in this recording are exemplary. Namely, rich tone and good acoustic. There is freedom from too much echo and microphone placement appears not too close. This makes extraneous noises unobtrusive.
Sadly, there is no information about the cellos used or the set up in these recordings. One can only assume that he plays his Montagnana cello for all the Suites.
These are modern interpretations with no attempt to create authentic baroque sounds, and no suggestion of using a piccolo cello for the sixth Suite.
That said it is apparent that the tuning pitch is down a semi tone on concert A and some of the videos suggest Ma holds the bow in front of the frog (main body of the bow). Since there is no mention of these matters in the large booklet, it would appear Ma wishes to keep the reasons close to his chest! The lower pitch certainly produces a more sonorous sound.
The detail.
When listening to the performance, I am impressed by the fluidity of the playing, phrasing, shape and dynamics.
Even in slower movements, (and some particularly the Allemandes were very slow!) direction of travel always appears clear. The description “laid back” kept popping into my mind. Very rarely does Ma appear hurried and the smooth tone irons out any sense of agitation. The faster movements such as Courantes and Gigues are always rhythmic and played with attack and clear articulation. From time to time there do appear to be fluctuations in speed. This is from one passage to another rather than within the same phrase (rubato). This may or may not be a concern to some listeners but I understand this is a comment raised by others about this artist’s playing.
The performances do get less laid back as one progresses to the final Suite, and its finale of the sixth Gigue. However, I was a bit surprised that the interpretations of the different Suites were so similar. I had thought that the collaborations with various other film and dance directors might have led to subtle changes in Ma’s interpretation. It may well be that the project works mainly on the premise that Ma shares his view, and the directors take his lead.
It could be that my own discrimination is limited and not able to pick the differences up!
Conclusion.
In summary I find this recording to be excellent technically and musically. There really is little to criticise. But, I do find that there is a lack of excitement or that stirring of the emotions that can be found with some performances. I do struggle a little to listen for sustained periods and cannot find specific highlights to share. One for the mind but not necessarily for the heart!
Charles.
Yo-Yo Ma The Bach Cello Suites ( Sony 88697 56128 2 2012).
Recorded 1994-97.
Introduction.
Ma’s 3 readings of the Bach Cello Suites were recorded with over 15 years between the first and second versions completing, and 20 years between the latter two. Thankfully they are not just rehashed clones, but instead represent quite different approaches.
The first reading, I recently borrowed from Charles and had a brief listen to. That reading I would agree with his assessment of it being a mainstream/traditional version. Also I acknowledge it seems a generally exciting reading. However, I did have real issues with a couple of movements in Suite 5, but that is a story for another day.
On the other hand, Ma’s 3rd version of the Suites is for me a gem (see my earlier review of this) and is one where I feel that it represents a true chamber version. Its style is also more akin to HIP performances, although that wouldn’t tell the whole story. Furthermore, it is lightly done with Ma apparently communing with Bach and us being the lucky guests allowed access to this. As of 2020 this reading is firmly in my top 5 versions.
The Recording.
Turning to the second version under consideration today, it is a different approach again. It was prepared in conjunction with well respected artists in other fields including film and dance and captured on video. I haven’t seen the resulting film with the music performed alongside, but certainly have a sense that the music can work in such a context.
The approach Ma takes has been described as a more romantic one, but as always with Ma there is more going on. Ma plays the Suites chronologically but with an irritating break in Suite 4 due to the extended timings of Suites 5 and 6.
Suite One.
From the outset the Prelude to Suite 1 demonstrates a wide dynamic range with a real nervous energy to it, albeit not being excessively fast. The Allemande is fuller toned amply illustrating the cello’s rich qualities. Although not stated directly anywhere, supporting evidence suggests this would be Ma’s cello here would be his Petunia Montagnana (my favourite maker!).
The Courante is lighter with sprung rhythms, and I find it quite a joyful movement. The following Sarabande is simple and heartfelt. Both Minuets are a relatively sedate pair of dances. The Gigue is assertive, and full toned, with Ma being quite prepared to dig deep with the bow.
Suite Two.
In Suite 2 the Prelude is mournful, with the bass notes deep and full. I wrote down it was “a song of Winter, quite nostalgic”. The following Allemande gently lifts us out of the mood of the Prelude, and increases pace a little as it progresses.
In the Courante I noted “we are off” as this was a truly exciting helter skelter piece. The Sarabande takes us back to the Prelude in mood terms, and Ma leans into and sustains phrasings nicely. There is also good dynamic variation between the presentation of the theme and repeat. This was where I pointedly queried “Romantic approach?”. There is tasteful ornamentation at work too, and he lingers on phrases more than many other interpreters. There is also an apparently long pause between the last two notes.
Minuets are well sprung with good contrast between the two. I am given the impression that these are dances where the man was clearly leading the lady, with him being most assertive on the 1st Minuet’s return. Hard for me to put this any clearer, but does support the impression that these Suites were designed as part of a multi media event. The closing Gigue was brusque, full of life, with true forte closing phrases.
It should be evident by now that Ma is taking great pains to differentiate the movements in each Suite which I find commendable. To a good degree this continues throughout the remainder.
Suite Three.
The 3rd Suite Prelude has so much variety it could be a fantasy. I do find the following Allemande a bit too skittish and perhaps nearer a Courante in pace. The Courante itself does have pace and has taut, precise and accomplished playing with no fudged notes.
In the Sarabande Ma again leans into phrases, with polyphonic elements really being drawn out, and he is quite prepared to linger on phrases to good effect. My notes skip the Minuets but the Gigue arrived like a gun going off! being bold and loud. A truly weighty reading, which makes me even more convinced this must be his Montagnana cello (stated at risk of said gun shooting me down with a reader proving to the contrary!).
Suite Four.
The 4th Suite Prelude is I feel rather ponderous, dropping to sotto voce in the second half and almost grinding to a halt, before waking up briefly before the end. Following this the Allemande has some lovely light bounce to it. Later in the Suite (and having changed to the second disc…) the Sarabande is initially a place of calm repose but with occasional swells to maintain listener focus. Although it does draw me in, I find some of the ornamentation here a bit too much window dressing.
Suite Five.
I note this tendency again in the Prelude to Suite 5 with the trills a bit too extended. He does pick up the pace nicely in the second part with dynamics steadily rising to a deep gravelly conclusion. The Allemande is played with great control and feeling, although (as often can happen here) the structure proves elusive.
In the Sarabande, unlike some cellists, Ma doesn’t use the silence between notes to create a sense of stillness, instead opting to play the piece with continuous linked phrasing. This is an interpretive choice but not my favoured one. The movement is also a bit quick for my liking. The following Gavottes have good use of colour and bowing creates nicely sprung rhythms.
Suite Six.
Turning to the last and great 6th Suite, Ma’s Prelude has good zip to it and the cello positively growls! The Allemande, which if played well is often a highlight of the set, certainly fits that bill. It maintains a nice flow throughout, with ornamentation more tastefully discreet than earlier in the set. Great care is taken over the playing, maintaining pure tone throughout and with excellent dynamic control.
The Sarabande has an unfortunate mishap early on (presumably a fingering issue, which I was surprised wasn’t overdubbed) leading to a brief dissonance, but apart from this is again a set highlight. We eventually arrive at a positively boisterous concluding Gigue, and finally we are home!
Conclusion.
I would summarise this set as one of great contrast, also an entertaining one, and showing Ma’s command of the cello itself. However, it in no way displaces my preference for his third (and he informs us final) reading of the Suites. In this last one he seems far more at one with the music, and no longer in need of demonstrating his virtuosic qualities. That reading remains one for the ages of which he can be duly proud.
Mark.