Miklós Perényi. Bach Cello Suites Hungaroton HCD 32834-35. Released 2020.
Also available as high resolution download.
The Hungaroton Studio is the venue of the recording over a nine day period in the later part of 2019.
No details given of the cello the artist uses.
I obtained this recording upon release in 2020 and unlike Charles (whose review proved favourable) I did have significant reservations about it when I first played it. I am glad that I didn’t review it then as on revisiting it in late 2021 much of those concerns have been tempered. Indeed, I am generally in agreement with Charles’ existing positive review.
Perenyi has lived with these suites for many years having previously recorded them nearly 40 years before. They are moderately paced on the whole but never lacking in excitement. Perenyi doesn’t seem to have any truck with differing schools of interpretative style, just letting the music speak for itself. He doesn’t appear to have any point to prove or feel the need to unnaturally spotlight any element. This makes a strong case for this version being a good starting point for a newcomer to the Suites, and indeed they may be happy to stop there. Much of the interpretation just feels right, but on occasion I did feel something was lost. A good example of this might be the 6th Suite Sarabande. Here there is no lightness of touch which I personally think befits the pathos of the movement. Pacing here wasn’t an issue, but there was also limited dynamic variation which did feel a little heavy and matter of fact. This may have been exacerbated by my previous earlier (if now reduced) reservations on this recording.
I had originally felt the recording was somewhat harsh and “in your face” – an issue I had found with earlier recorded Hungaraton discs (e.g. Annie Fischer, Beethoven – Complete Piano Sonatas). Indeed, these previous discs proved brittle and steely sounding which was quite wearing over an extended listen. Initially, I tarred the Perenyi set with the same brush. However, having revisited Perenyi, I feel more favourable.
The recording is for sure quite forward and close miked (but with Perenyi’s technical skills admirably avoiding potentially intrusive unwanted noises, such as finger tapping or excessive breath sounds). However, there is none of the old Hungaraton brittleness to this more modern recording. In fact, with a little judicious volume control adjustment the problems, such as they are, can largely be compensated for. I suspect that the cello Perenyi uses, frustratingly not identified in supporting documentation, is also contributing to the volume as it seems to have great projection. This is a cello that would not be out of place in a concert hall setting, as opposed to suiting only smaller venues. Given Mr. Perenyi’s prestige and long roll call of national honours I suspect that the Hungarian state or relevant institutions are likely to have ensured he is using a quality instrument. Its full burnished tone would even suggest we are in Montagnana or Strad territory! but as its maker is not listed perhaps that is wishful thinking on my part……
In conclusion, I would not see Perenyi as topping any of my small group of favourites off their perch, but it still has much to commend it. It is a lived in performance where Perenyi does not have any particular point to prove. As a result nothing caused offence, but there were moments where I felt that a little more could be made of the contrasts within this wonderful gift that Bach left us with.
Mark.