Christian-Pierre La Marca. Bach Cello Suites. SonyCD 88765439332
Released 2013.
Recorded in Paris at the Eglise de Bon Secours, October 2012.
Cellos used are a 1740 Montagnana on loan from Steven Isserlis and Le Vaslin Stradivarius on loan from LVMH a patron of youth and music.
There is no information about the set up used by the cellist or which cello was used for which Suites. Using my ears, I am assuming a modern set up. Also that the Stradivarius is played for the sixth Suite, the sound being less robust and sweeter. This would fit with the slightly smaller size of later cellos by Stradivarius. Surprisingly, there is limited, accessible information on the matter.
The Cellist.
La Marca is a young French cellist who amongst many includes Steven Isserlis as a mentor, and what better way than by loan of a fabulous instrument! He is not well known in the UK but has an international career according to his web site.
The first few bars of the first Suite soon banish any thoughts of promotional zeal that arise from reading the biography on his web site!
The Recording.
Technically, this is a fine recording with wide sound stage. It captures the whole range of the cello with clear dynamics. The microphone sounds quite close but without extraneous noise. This is something the French producers do well thinking of similar high quality recordings by Gaillard and Gastinel.
The Music.
La Marca seems to employ what I would term a hybrid style. By that I mean lack of sustained notes, instead using a light and airy tone. However, I hear very well-articulated and clear phrasing. There is a lot of embellishment and ornamentation similar to that used in Historically Informed Performance (HIP). On the other hand, more associated with main stream recordings is the use of vibrato albeit sparingly, and I think steel strings in preference to gut. Frankly this is my favourite compromise, as I dislike the scratchy sound of pure gut strings of HIP and full fat vibrato and sustained notes of the romantic interpretations.
La Marca impresses with his remarkable facility and technique. Most movements including some Allemandes are played at a fair rate, such that the first three Suites are dispatched within 53 minutes! Mostly this gives a thrilling listen but occasionally some of the Gigues and Courantes are just so fast that I had a sense of missing something. I could never say that the cellist was in danger of losing control, and in fact he still plays with great poise and shape. It is that suggestion of great musicality that makes one want to savour the experience more through a fractionally slower performance! Notes taper immaculately and dynamics are sensitive.
Sarabandes are beautifully played with great style and sensitivity. There is no excessive emphasis of lower notes and chords are played with finesse and even tone.
It took a while for me to realise but La Marca very rarely uses significant rubato. The playing is far from metronomic but the dynamics and shaping provide the essential interest.
Conclusion.
This performance is very nearly my nomination for best all round performance of the Suites. The problem is the rapid pace of all bar the Sarabandes. The playing to my mind, is just too fast a lot of the time. It impresses with the technical accomplishment but leaves me thinking how good it could have been. Perhaps in a few years La Marca will oblige with a more reflective less frenetic interpretation!
Charles.