Benjamin Kloeckner 6 Cello Suites For Solo Cello (Brilliant Classics 96403) Recorded 2020)
Benjamin Kloekner is proving to be a leading light of the new generation. He has already released a highly acclaimed Schumann Cello Concerto, which was nominated for the German Record Critic’s Prize. Furthermore, my own collection includes a rather wonderful performance of the Rachmaninov Cello Sonata (Piano Classics PCL0081). The latter is performed in the rich, full bodied style predominant prior to the late 20th Century. Any expectation that this would persist in Kloeckner’s readings of the Bach Suites were quickly dispelled as I shall go on to explain later in this review.
Another thing of note regarding this performance of the Bach Suites is, whilst they have been put out on a budget label, there seems to have been little compromise in the recording process. Whilst they are fairly closely miked, there is enough air around the cello to give a realistic presentation of the cello sound. Presentation is perhaps a little dry, but not so much that it affects enjoyment of the music.
There are 3 discs in the set, but this is not because slow speeds are adopted for the Suites, as generally speaking Kloeckner does not hang about. Intriguingly the third disc is necessitated by the inclusion of 6 additional single movement works, each by a different contemporary composer. Pleasingly, these all deserve repeated listening (not always my experience of contemporary works) and whilst being mindful of the daunting example set by Bach, they display great originality. They have also been carefully and effectively positioned between the Bach Suites.
Kloeckners uses a Rugeri cello (Cremona, 1690) which was formerly played by Maurice Gendron. I am not sure if this was the cello used in Gendron’s recording, already reviewed on this site, but if so, the sound produced by Kloeckner is thankfully a million miles from Gendron’s over the top version.
Turning to the Suites, Kloeckner’s First Suite starts briskly, with a Prelude that comes across as edgy and energetic, with staccato prevalent throughout. Personally, this is not a style I favour, but I accept that’s a matter of taste preferences. I noted it was not a fantasy, as typically expected of baroque preludes, so much as a warm up exercise! The sound persisted throughout the ensuing Allemande and Courante, where I wrote down words such as edgy, lean, linear and fidgety. What it most definitely wasn’t was the more traditional richer sounds of the mid to late 20th Century, instead being nearer to period style.
The First Suite Sarabande though was nicely done, being appropriately paced and with the cello sound thickening out nicely. In the Minuets I noted that they did feel like they could actually be derived from courtly dances. They were gently despatched, although I did find the pause between the 2 Minuets a little long. This was something that recurred elsewhere in the 5th Movements of other Suites. Another element I was also to note elsewhere is Kloeckner does love his rallentando endings. The concluding Gigue had plenty of spring in its step, with precise playing and to a suitable chamber scale.
By the Second Suite I felt Kloeckner was relaxing into the set (it’s worth noting here, the booklet actually notes recordings were made over several months). The Prelude had a warmer sound than in the First Suite, with the cellist also leaning into phrases very effectively. Another movement of interest was the Courante, which had an exciting presentation designed to get the blood flowing. In this particular case I did also feel Kloeckner’s jagged rhythms were entirely appropriate.
The following Sarabande had seamless long breathed lines, with dynamic contrast well presented but never overused. It was a yearning rendition with ornamentation tastefully used, and I have rarely felt this movement had as much impact as here. In fact, just as I found with Isserlis’ Hyperion recording, Sarabandes were to prove a strength of this set. In the concluding Gigue of the Suite, Kloeckner is perhaps a little slower than expected, but it still has its own underlying momentum He also plays around with the differing sounds the cello can produce which adds good variety. As an example, he thickens the texture to signify when the movement is approaching its concluding phrases.
Turning to the big guns of the Fifth and Sixth Suites, Kloeckner starts the 5th with a true deep bass growl of an introduction. There is significant use of rubato also, with a true mood of expectation created. Then we were off, with a sprightly fugue dancing along beautifully. Skipping ahead to the Suite’s famous and sparse Sarabande, there is mystery from the outset and for me a great sadness or longing in this rendition of one of Bach’s most original pieces. I noted down it felt slower than it actually was and it was truly rather lovely.
There was marked contrast in the 2 following Gavottes, with the 2nd being despatched with great panache and really impressive fingering and bowing. In this case, there was a notable exception to the potential danceability of other Fifth Movements, as it would be practicably impossible keeping up! The rhythms of the following Gigue were again spiky, whilst Kloeckner brings the Suite to an end with another true growl.
The Sixth Suite Prelude starts off jauntily but leads on to nicely flowing and seamless lines where harmonics were much in evidence. There was good use of light and shade and differing colours were nicely brought out. This was a true fantasy as befitted Preludes at that time. The Allemande had significant rubato and Kloeckner used a world of differing sounds. Pacing was moderate (although it felt quicker) and dynamics were subtly altered throughout. I jotted down that this could stand alone in recital, with perhaps just that last ounce of mystery missing.
The following Courante produced brisk and positive playing with some excellent control throughout (marred only by some intrusive finger tapping). Again I found in the Sarabande that these thoughtful pieces suited Kloeckner well. The sound made me think of Ma’s third, and allegedly final, recording of the Suites, albeit Kloeckner was not quite as delicate. The Gavotte’s again felt feasibly danceable. As for the concluding Gigue, this proved a joyful ending to the set which never felt over egged or pushed unnecessarily. Instead, it presented a microcosm of the Cellist’s art with oodles of variety in the playing.
In summary, there was much to enjoy in Kloeckner’s recording, with some elements being potentially class leading. However, as I didn’t warm to all the parts consistently, I wouldn’t place it in my own personal top five recordings found elsewhere on this site. Despite this it has a positive recommendation for audition, as it is a searching reading throughout, and might prove very much to some listeners tastes.
Mark.