Roel Dieltiens. Bach Cello Suites. CD EtCetera records 1403. Released 2010.
Recorded 7-9th April 2009 AMUZ Antwerp.
No information available regards cello or set up.
The Cellist.
Dieltiens is the first Belgian cellist I have reviewed! This is his second of two recordings the first being on Accent in 1991. He is an encouragement for all late starters, moving to the cello aged 15. His teachers include Pierre Fournier and Andre Navarra. However, it appears that a rather lesser-known teacher André Messens was more influential. A very interesting biog can be read on the artists own web site, thoughtfully available in short and long versions. I recommend the long!
https://www.roeldieltiens.be/files/cvlongen.pdf
Dieltiens is described as being equally proficient in Baroque and Modern cello. I find myself confused as although his performances are certainly characteristic of Baroque style, there are exceptions. In addition, video clips show him performing Bach, using both modern and baroque bows. Images have cellos with and without endpins.
The recording.
This recording has a lovely airy acoustic. The cello sounds a little recessed and distant at times although in louder passages it comes to the fore and some fingerboard taps are heard suggesting close microphone techniques. The full range of the cello is well captured with very mellow and woody low notes. Whilst there is plenty of space around the cello there is not obvious echo to interfere with the clarity of sound.
General thoughts.
This recording sounds very different from most, but it is difficult to describe quite why. The cello sound is very light and ethereal much of the time but does not lack grip and bite where needed. Whilst listening I feel very relaxed and soothed. The sound envelops and immerses me in the music; its beauty and its intricacies. Nothing feels forced or strained.
Baroque elements are a cello sound typical of gut strings, non sustained longer notes and pronounced articulation in faster passages. This together with extensive ornamentation. However, in certain passages specifically Sarabandes there are phrases with sustained notes and even a hint of vibrato I thought. The musical phrasing also has in many places a romantic feel. To my mind this artist, has blended the best features of Baroque cello and romantic intepretation. I suspect he has done this intuitively, rather than in a calculating manner.
More specifically Dieltiens uses a lot of ornamentation which sometimes extends across a couple of beats or more and becomes improvisational. This is employed particularly during repeats which with varied dynamics makes for great contrast and added interest.
Technically the artist is top notch with no moments of doubtful intonation. He gives total confidence of being able to negotiate even the most challenging passages such as the sixth Prelude.
Specifics.
There are surprises as well. The sixth Sarabande starts with a single line and no chords or double stopping. The chords come with the repeated section of the first half. It is highly effective in my view. The third Courante and fifth Gigue finish unexpectedly quietly and with significant rallentando which enhances the music. I think this musician may have a sense of humour!
The fifth Sarabande is a masterpiece of detail and thought with every phrase different but within an overall coherence. There are significant dynamics, some notes are played legato and others well articulated. It is very much a performance not just one of six movements in a Suite.
Conclusion.
This recording is a joy to listen to and draws the listener in gradually, not instantly so persevere if at first you are not impressed. I also recommend this artist’s recordings of Vivaldi concertos and music by Franchomme. These recordings use a similar style and recording technique which is refreshingly different from most other recordings of Vivaldi’s works for cello.
Charles.