Martin Rummel. Bach Cello Suites. Paladino music pmr 0004.
Labelled as the first recording of the Johann Peter Kellner manuscript.
Recorded in Vienna Sept 2009. No other information about instruments used other than promotion of Thomastik Infeld strings.
Introduction.
This recording exemplifies the reason why I am inspired to keep probing and investigating the many recordings of the Suites. There is always a new angle to look at. New ideas to consider.
The manuscript.
This performance by Martin Rummel brings to the table the first recording of the Suites following the Kellner manuscript. Rummel believes this is the closest to the missing original manuscript by Bach himself. More details are provided within the excellent booklet. The use of this manuscript makes itself evident in more ornamentation and some pleasing but noticeable notation differences. The exception- and I emphasise the subjective nature of this-being a different note, two bars before the ending of the sixth suite Gigue. This sounds discordant and strikes me as if it were a wrong note! (I am absolutely sure it is not).
The Recording.
The sound quality of the recording is excellent with firstly, a good balance of expansive sound, and secondly, detail of tonality.
There is not too much extraneous noise from the performer. The cello has an ever so slightly coarse sound which hints at this being an authentic baroque style performance, but the dynamics, suggest a modern set up underlined by standard tuning. There is very little vibrato, noticeable in the Sarabande of the Fifth Suite.
The Interpretation.
The first thing I noticed about the interpretation was not entirely positive, and that was a striking tendency to emphasise key notes in every phrase. The second characteristic was the very rhythmic and dynamic style of playing. Make no mistake these are enthralling performances with tremendous vitality and excitement. Although it is no doubt fanciful, the image that comes to mind is of a Medieval knight going into battle in full armour cutting and thrusting as he cuts through swathes of foot troopers. There are moments of repose and reflection which add to the dynamic feel. Namely the Fifth Sarabande and the Sixth Allemende.
Ornamentation.
Another feature worth noting was the use of ornamentation. I rather enjoyed this particularly as it did not get in the way of the rhythmicity and momentum of the playing. The one exception being the Fifth Courante which sounded as though it might trip up due to combination of pace and ornamentation. In general, it added to the huge sense of style that is conveyed.
Highlight.
If there were a highlight to pick out above all the others it would be the Sixth Prelude. The articulation and rhythm are enthralling, worth getting the CD for that alone!
Conclusion.
I would recommend the performer’s web site and reading his personal profile. In that profile he lays bare a lot about himself and his family, but it is appropriate because it gives understanding of the man behind such an individual rendition of the Suites.
Charles.
Marks Comment
In the many interpretations heard by Charles and myself, this we believe is the first one where we have wildly different opinions on it. Indeed, for myself I only played the Sixth Suite (Charles’ recommended Suite to check out) and could go no further! I found it aggressively harsh and with little dynamic variation below forte. For some reason, the transfer had also been done at much higher volume than the rest of my copious classical collection, but even significantly lowering my volume control did not quell my reservations. If you come to Bach with an existing strong interest in heavy metal music, then fill your boots! Otherwise, given our dramatically different views on this version I recommend sampling first before parting with any cash.
Mark