Bach’s
                      music – specifically his Cello Suites – excites and enthuses 
necessarily.
                      And the extraordinary recordings of Jean-Guihen Queyras (Harmonia
                      Mundi) and - brand new - Sebastian Klinger (Oehms)
                      further contribute to making over two hours of non-stop
                      solo cello unusually
                      entertaining. Both sway the ears with impeccable technique
                      and a wonderfully caught, natural tone. Klinger (on a 1736
                      Camillus Camilli) more by more means of dynamism and flexing
                      his well oiled muscles – Queyras (on a 1696 Gioffredo Cappa)
                      with beautifully controlled ardor. 
                  
                   
                  
                  
                  
                  
                  
                  Queyras, the
                    former cellist of the Ensemble Intercontemporain has already made a name for himself
                    outside France with performances and wonderful recordings – including
                    Schubert’s Arpeggione with
                    Alexandre Tharaud and the Dvořák Cello Concerto, where
                    he set down one of the most moving slow movements on record.
                    Klinger, who studied with Heinrich Schiff and Boris Pergamenschikow,
                    became the Bavarian Radio Symphony Orchestra’s first solo
                    cellist at 27 and is as yet unknown to most American concert-going
                    audiences. Judging from this recording, that will
                    soon change … if his orchestral duties permit
                    the occasional tour as soloist.
                   
                  
                  
                  
                  
Both recordings
                    are similar in many ways – superior technical quality, rich
                    tone, generous acoustic (both were recorded in a church),
                    tempos – but Klinger uses a six-stringed cello for the last
                    Suite, which makes for a slightly calmer, more fragile impression
                    and at 420 hertz Klinger also uses a slightly lower than
                    usual tuning for a less edgy and, well, ‘high-strung’, sound.
                    That points to Klinger having absorbed many lessons from
                    the ‘Historically Informed’ school, even if his interpretation
                    is decidedly not “HIP”; Peter Wispelwey would be the choice
                    for that.
                   
                  
Anyone who wants
                    to place a modern recording next to their Pierre Fournier
                    in their collection but shies away from the wilful individualism
                    of Gavriel Lipkind will be exceedingly well served by either
                    of these interpretations.
                   
                  
Jens F. Laurson
                   
                  
                  Reviews of other recordings of the cello suites