Lluis Claret. Bach Cello Suites CD Valois V4695 Released 1993.
Recorded April 1993 L’Auditori Nacional d’Andorra.
No details of cello used but more contemporary online information suggests that the cellist has used a cello by Nicolas Dupot 1820.
The cellist.
Lluis Claret hails from Andorra and appears to have remained faithful to his place of birth throughout his extensive career covering solo, chamber and teaching roles. In the 70s he won prizes in the Pablo Casals and Rostropovich competition. The standout snippet of information is that one of his teachers was Enric Casals brother of Pablo and a violin player rather than cellist. Pablo Casals was his godfather and did mentor him in his early days. The Catalonian family links were obviously relevant here.
I include a link to a very insightful interview here:
https://www.opuscello.com/lluis-claret/
This is the kind of interview I really enjoy where the interviewer is economical with their questions and the interviewee clearly at ease. Claret comes across to me as very modest, self-effacing and well grounded.
The booklet provided with this recording is very comprehensive with translations in four languages. There is rather flowery testimony by a director and actor Josep Flotats, which took some digesting but with whose sentiments I concur!
The recording.
I feel the quality of this recording to be fine and well balanced. The cello tone sometimes sounded a little coarse but the acoustic was generous with plenty of space around and no untoward background noise.
The music.
This recording falls into mainstream style but without excessive romanticism. After a few movements, It became apparent to me that virtually everything about this interpretation feels “right”. There was no jarring caused by odd timings style or tempo. Nothing stood out as different! That might sound like a precedent for a declaration of mediocrity! Far from it. This recording maintains rhythmicity, pulse and shape from beginning to end. The technique is never in question to my ears, the listening experience is simply very enjoyable. The questioning, analytic part of my brain was able to rest.
Having completed my listening I can analyse further and suggest that perhaps dynamics are a little muted. The fifth Sarabande was perhaps a little fast and perfunctory. However, the fourth Prelude was a joy with the cascading arpeggios flowing briskly and without the usual emphasis of the lowest note breaking up the flow.
Conclusion.
I’m going to avoid the temptation to pad this review out with more detailed thoughts and suggest you have a listen to make up your own mind. I feel strongly this is a performance where what one gets is mostly Bach and very little Claret! This focus on the music is underlined by the performer’s conversation in the linked interview above.
Charles.