Martin Ostertag. Bach Cello Suites. Coviello Classics. COV20708. SACD/CD Hybrid disc.
Released 2008. Recorded 14th-20th July 2006 Hans Rosbaud Studio Baden-Baden.
Re Release 2021 Standard CD COV 92018.
No information about the cello used or set up provided in notes. But elsewhere on the internet I found the information that Ostertag plays a cello from the workshop of Pietro Guarneri.
Introduction.
I thought prior to my review, I would share how I came across this recording.
Mark and I buy all the recordings we review. In my case, often second hand. From time to time I audition on a streaming service if I cannot buy a CD at a reasonable price. For the first two years I have selected recordings by well-known cellists and then searched for the cheapest on amazon market place, eBay or the music discography market place! As you might imagine it has started to become quite difficult to find new recordings to review at a reasonable price. I have also found that buying recordings by unknown cellists is becoming quite risky in that some are really not so good! I personally do not enjoy writing critical reviews especially as I consider it a feat just to produce a recording at all!
Consequently, I have started to do an initial audition of random recordings from our list of recordings on Tidal. The aim is to find promising performances and then buy the CD.
That way I have skipped over a couple of recent releases (no names) and found this recording by the German cellist Martin Ostertag.
The Cellist.
Ostertag is certainly not well known in the UK. There is very little to find about him on the internet. There is no personal web page and his releases appear to be of mainly chamber music. He had lessons from Andre Navarra which is always promising. Ostertag was in his 60s at the time of this recording. Teaching has been a major part of his career. Essentially apart from his teacher and the fact he won a couple of prizes early in his career there is little to suggest this would be a stand out recording. However, the keen eyed will have noted this is one of the few SACDs available of the Bach Cello Suites. The only other one I have is the Janos Starker Living Prescence release.
The Recording.
I don’t have the equipment to play the SACD layer of this hybrid disc but the CD layer is impressive. There is very resonant sound, plenty of headroom and space around the cello and plenty of detail. The cello was well captured across all registers, and there was no excessive extraneous noise.
The Music.
Cutting to the chase, this was an excellent rendition of the Suites. So much so that I am left puzzled as to how Ostertag has failed to set the world alight!
I would describe the style as hybrid. By this, I imply full tone, sparing vibrato, what sounds to be a modern set up but lots of separate bowed articulation. It was noticeable that Ostertag employs the Baroque style of rise and fall phrases, which together with buckets of rhythmicity, give a momentum and pulse that stands head and shoulders above many better known performers.
I cannot detect any significant limitations in technical ability and in fact the pace of most movements was on the fast side. Possibly I would criticise the fifth Sarabande for being a bit too quick. That being said, there is never a muddiness to the sound which can happen in Courantes played at fast pace. When following the music manuscript, I noticed that there is a tendency to move into the next phrase a little ahead of the beat. This is not apparent otherwise, which may explain the sense of urgency and momentum which adds great excitement.
I am not detailing specific movements as really there were no quirks or surprises. Just a hugely competent, exciting and rhythmic performance. It is a hugely enjoyable listen and drew me in so that I could not but listen right the way through the 129 minutes without a break-twice! Once on streaming the next on delivery of the CD.
Generalisations.
Other generalisations I can make is that during Sarabandes with chords Ostertag has an alluring way of playing the lower notes lightly emphasising the melody. In general, phrases are started and ended subtly so no sudden lunges, emphasis or abrupt endings! The is good variation in dynamics, but not a lot of variation in repeats.
I am so surprised to find such a good version by a relatively unknown cellist that I felt the need to seek assurance that I was not making a major error of judgment. I was gratified to find that the reviewer, Mike Brownell for Allmusic felt exactly the same way.
https://www.allmusic.com/album/bach-6-suites-for-violoncello-solo-mw0001392921
There are very few other reviews elsewhere and certainly none that I could find by the usual arbiters of quality.
Conclusion.
To summarise, I have no hesitation in recommending this recording especially if you have a SACD player lying under-utilised! However be aware that only the original 2008 release has the SACD layer. A full price 2021 release appears to be CD only. (less for more!).
An added bonus is a useful detailed narrative in the booklet concerning the various cello and viola da gamba players available to Bach.
I shall set to work on Mark, and who knows it may appear in the Favourite Five page sometime in the future!
Charles.