Jörg Metzger. Bach Cello Suites. CD Campion records 1326/7 Released 1994.
Recorded 1990. The performer plays an Instrument played made by Santo Seraphin in 1710.
No other information regards recording venue or set up of instrument detailed.
The Cellist.
Jörg Metzger is from Reichenberg in the Sudetenland . His professional career has been spent mainly at Wurzburg as professor of cello at the Music High School (later University). His recordings include a handful of CDs, notably a performance of the Dvorak cello concerto and the Reger suites for solo cello. He was also cellist in the Seraphim trio. Apart from this information and details of funding a Seraphim competition annually, the internet is bereft of further information about this performer.
The Recording.
The SPARS code on this CD is DDD. It appears to date from 1990 and therefore is a relatively early pure digital recording. Initially, such recordings on CD were released from 1984 onwards. The acoustic is quite dry and the sound rather “boxed in.” The cello sound sounds rather tight with obvious significant vibrato applied.
This produces an intense rather coarse and fatiguing sound. I suspect this may be due to a combination of technique and recording impact.
Evidence of some influence from the recording process is that later re-mastered releases do sound a little better. They are available on download only.
The Music.
Tonal quality and overall sound apart, there is plenty of musicianship to admire in this performance.
Phrasing.
Much of the playing is very pleasingly shaped and phrased with good contrast. There is use of dynamics and restrained varying of tempo. However, Metzger plays the Sarabandes very slowly. This, to my mind together with the tonal quality makes them drag.
The exception.
The outstanding exception being the fifth Sarabande. This movement is almost a litmus test between baroque recordings and romantic recordings with the amount of vibrato being a key determinant. However more than any other recording, what we have here is what I would call a “Vibrato sandwich”!
Vibrato sandwich.
The first time through of the first half is played quietly smoothly and with no vibrato.
The repeat is louder and with vibrato. Ditto the first time through of the second half.
Finally, finishing with a quieter no vibrato repeat of the second half.
It seems surprising this is not done as obviously, more often. I suspect whether you approve depends on your liking of sandwiches!
On to the fourth Suite.
The fourth Suite is perhaps the most successful with a pleasingly light and brisk Prelude, snappy Courante and Gigue. However, thereon things get a bit sticky. Slower tempos are used possibly due to the technical challenges. Therefore, I feel there is less flow in the music and strain on the ears from the tonality of the cello. This rarely seems to vary, although as mentioned before there are pleasing changes in dynamic.
Overall, not a recording I am likely to return to, but there are over 200 to choose from and at this point I have listened to only a quarter of them! If you want to sample I suggest you listen to the fifth Sarabande and fourth Prelude on any of the streaming platforms.
In doing so I’m sure you will be contributing funds to the aforementioned Seraphim competition and support up and coming talented musicians.
Conclusion.
To quote the performer from his own notes supplied with this CD.
“Bach’s music, however it is interpreted, loses none of its fascination.”
Charles.