Morten Zeuthen. Bach Cello Suites. CD Scandinavian Classics 220503-304
Re issue released 2002. Recorded 1993 in Store Heddinge Church, Stevns, Denmark.
No details available of cello.
The Cellist.
Morten Zeuthen is a Danish cellist with a large repertoire and recording catalogue. He has followed the well-trodden path from performer to teacher and from his credits in the brief notes provided would appear to be highly regarded in his homeland. Whilst he has worked on the international circuit, the internet information would suggest he is not a cellist who has received widespread recognition. In fact, a video I found of the cellist clearly promoting this original release in 1994 shows him performing on top of a lighthouse with Danish dialogue. Clearly for home consumption only!
https://www.youtube.com/watch?v=kR7-8OZX0z0
Does this set the tone for a mediocre performance or is this a hidden gem? To find out, read on!
The Recording.
The recording is excellent with a broad sound stage, lots of space around the cello and what appears to be a very natural acoustic with the right amount of reverberation. In fact, I found myself looking forward to the last notes of each movement to savour the lingering sounds. However, the cello has a slightly raspy sound which may be my recently acquired Naim 5 CDXS. As an aside I am concluding that whilst I love the slam and solidity of the Naim sound, I am missing some of the tonality I heard with my Meridian.
The music.
Not having any expectations, I was rather knocked back by the first seconds of the first Suite Prelude! It is almost as if the cellist is Usain Bolt coming off the starting blocks! The piece starts with marked impact and strength. There is rhythm and emphasis although not overbearing. To be fair, the speed is brisk but not as fast as some. The tone is full and style romantic although not taking too many timing liberties. This sets the tone for the rest of the recording and provides plenty of excitement to a weary and jaded listener.
However, it becomes apparent that Zeuthen is not a one trick pony. The second Suite Prelude is very sombre and dark with the normal full fat tone held back in favour of a more mysterious ethereal sound.
The third Suite starts with a very assertive opening phrase as many do. The excitement comes in the middle with the cross string passage building up progressively in an almost organ like manner. I enjoyed this a lot as a one off although for repeated listening I favour a more refined rendition. Later, the third Gigue was almost as exciting. This cellist certainly has a big sound! It’s a pity not to know the cello used. One might reasonably assume it is a Montagnana or Goffriller cello.
What of the Sarabandes? The good news is that these sound refined and tasteful. The tone is unforced and pleasing to the ear. The rhythm of dance is preserved. Some background breathing becomes apparent at times but not intrusive.
Disc two.
On to the fourth Suite via an interesting addition of a rendition of Bach’s Partita in D minor BWV1013. The Prelude of the fourth Suite is taken at a tremendous rate which sounds fine as the tone is lightened and the lowest notes are not over emphasised. However, on getting to the semi-quaver passages it does seem to lose shape and indeed sounds a bit like a cadenza from a concerto of the Romantic period. The fourth Sarabande is also very fast but this is totally fine for me as it brings the dance character right to the fore.
Throughout Zeuthen remains very assured. His playing is rhythmic and keeps a steady pulse. This listener feels totally confident in the cellist’s technical prowess.
The fifth Prelude is one of my favourites. Here, the introductory section is taken a bit faster than I think appropriate, but the fugue section benefits from the additional pace with plenty of contrast and shape bringing out the different threads. The lower note sections are played with great vim. This cellist is clearly no wallflower!
Zeuthen plays the fifth Sarabande, always an interesting point in any recording, beautifully. Yes, it is a bit fast but the smooth melody line with precise shape and phrasing brings something special to this movement. Somehow the cellist maintains the dance feel even to this piece.
The sixth Suite starts typically (for Zeuthen) with a very emphatic and precise start emphasising the amazingly simple cross string contrast on the same note. As this movement develops the technical prowess is on full display and one has a sense of a cellist fully enjoying the moment without obvious strain. This continues through the final Suite to a very satisfying concluding Gigue with plenty of dynamics and some interesting little quirks!
Conclusion.
In terms of technique, rhythm, dynamics and musicality this is a recording that would be in my personal top five. What relegates it to my top 10 is the subjective need for a bit more tenderness and reflectiveness at times. Yet again a less well known cellist holds his head up high in the presence of Maisky, Gendron, and Starker with whom I would suggest he shares a number of characteristics in his performance.
Charles.