Comparisons: Ma/Sony – Kirshbaum/Virgin
There are so many recordings of Bach’s Cello
Suites on the market and such a large variety of interpretive
styles that I feel obliged to detail my preferences concerning
performance traits. First, the performance needs to reflect Bach’s
soundworld and idiom. Many recorded versions tend toward a romanticized
view of the Cello Suites that is entirely appropriate for a 19th
century body of works but woefully out of touch with the world
of Baroque music; the versions from Maisky on Deutsche Grammophon
and Rostropovich on EMI are among those representing the romantic
view.
Second, some cellists prefer to give highly perfumed
and nuanced accounts. They become so concerned with the highlighting
and dwelling on particular motifs that the music’s flow is retarded.
An example of this style is the Wispelwey set on Channel Classics.
Third, Bach’s Cello Suites possess many movements
of exuberance that are totally upbeat. These movements need to
convey a generous rhythmic bounce reflective of the dance elements
with strong momentum, and a sense of unbridled joy. Fourth, the
flip side of Bach’s exuberance is his incisive poignancy in the
two minor key Cello Suites and the Allemandes of each Suite. The
cellist must dig deeply into the emotional depth Bach offers through
strong bow attacks and inflections.
The comparison versions I have listed above are
‘mainstream’ in the best sense of the word. Flow and drive are
excellent, and there is no attempt to whisk the compositions into
the 19th century. Although I prefer the Cello Suites
on period cello, the two Yo-Yo Ma recordings (1980s and 1990s)
and the Ralph Kirshbaum get frequent play on my audio system.
With personal preferences now established, I
can turn to the relatively new set of performances by Richard
Markson. To his credit, Markson does not stray into 19th
century performance practices, giving an unmannered set of interpretations
fully immersed in the Baroque idiom. He also does not stretch
out the nuances he provides, resulting in a fine degree of momentum
and rhythmic flow. In the upbeat music, Markson could hardly be
improved on. The joy and bounce he gives the music is irresistible,
and he clearly imparts a strong identification with Bach’s love
of life and dance rhythms.
Unfortunately, Markson wants little to do with
exploring Bach’s inner thoughts and demons. The Allemandes, whether
in the major or minor key Suites, get short shrift from Markson
who is quick and never takes the time to convey any sense of deep
regret, remorse, danger, tension, or any other emotion requiring
incisive delivery. His style, although quite effective on Disc
1 is debilitating in the Suites in D minor and C minor on Disc
2. Essentially, Disc 1 is quite enjoyable, but it all comes to
a thud with Disc 2.
Markson’s performances are a good example of
‘Bach Lite’, and those who enjoy Bach in this manner will likely
be very pleased with his set. However, if you want the full range
of Bach’s music, Markson will not satisfy. On the plus side, his
recorded sound is superb with ample air to make the music bloom.
In conclusion, I hate to withhold a hearty recommendation
for Richard Markson’s performances. When good cheer and exuberance
are called for, Markson is right on target, but his reluctance
to dive into Bach’s depth of expression mandates that I advise
readers to pass on this recording and turn their attention to
alternative versions such as the Ma and Kirshbaum. Of course,
going back in time to the Pablo Casals versions recorded in the
1930s and available on a number of record labels is also an exceptional
choice.
Don Satz
Richard Markson, cello