Jiří Bárta. Bach Cello Suites. Animal Music CD ANI 076-2 Released 2018
Recorded July-October 2018.
Recording venue, Sono Records, Nouzov, Czechia.
Cello used anonymous, Prague, ca. 1700. Baroque bow by Martin Opluštil, 2004. Gut strings by Pirastro.
The Cellist.
Jiří Bárta is a Czech cellist and one of a select group (always growing) of cellists who have recorded the Suites more than once. This represents his second recording at the age of 53/54. It is interesting to hear the differences that exist between different recordings by the same artist. Quite often the second recordings are more idiosyncratic and one assumes that experience and confidence give free rein to artistic discretion. In this case, a clear difference is the use of Baroque instrumentation, including gut strings. I do note from a photo that an end pin is still used. This, as opposed to holding the instrument solely between the lower legs.
The Recording.
The accompanying notes to this release do include detailed information about the microphones and recording equipment used. Much appreciated! There does appear to be use of very close microphone positioning. In addition, other microphones are dispersed in the recording studio. The impression I get is that the cello itself is not bestowed with a strong sound which is not unusual with Baroque instrumentation and set up. However the lack of significant dynamics and need for close microphone placement means that a great deal of breathing and indeed other extraneous noises impinge on the listener’s ears.
In fact I feel sure that I can hear at various points an assortment of bangs and clunks as if someone was moving around in the background. So curious was I, that I looked up the google street map address of the studios. I found a rather quaint single story house which could have been a residence attached to what appeared to be a café/bar establishment! I’m sure some sort of sound proofing will have been in place, but it would not surprise me if there were some elements of the environment which were being picked up by the microphones!
Sadly whatever the cause, the unwanted noises were a major distraction and on their own would be a major reservation against this release.
Gut strings.
The cello sound was very clear but impacted with a “raspy sound”. This unfortunately prevailed throughout. I did not appreciate the many touted benefits of gut strings such as sweetness of tone and lightness of touch. latterly, I did listen on Mark’s system as well which is several notches up the audiophile post from mine and the sound was indeed more pleasing. I suspect the harmonics generated by close microphones and gut strings can produce audible distortion in many systems. Something to bear in mind for any reader when considering which version of the Suites to buy.
The Music.
At the risk of sounding negative, my overriding impression of this recording is that it seemed to be very similar to Bárta’s first recording but played with a different instrument. The style of playing appeared very mainstream, even romantic with plenty of legato playing. There is generous flexibility of timing especially in the first Prelude, which starts very slowly, speeds up in the middle and then slows again towards the end. This represents the greatest variation from the first recording being a full minute longer. Thereafter differences are more subtle.
My main reservation of the first recording was the lack in many movements of a clear sense of rhythm, and sense of forward motion. This, I felt was mainly due to over emphasis of key notes together with slight gaps between phrases. That feature is noticed again in this recording. I cannot detect a sense of ebb and flow which endears with some Baroque performances.
Conclusion.
Overall then, this recording did not endear itself to me, mainly due to the distracting background noises. Another on line review has commented on this so I do not feel I am being over critical. They can be heard even with high quality streamed services so I suggest you check it out before any purchase.
Charles.Late