It is hard now to imagine a time when only a single recorded
version of the unaccompanied Suites was available. Whilst I still
return to those Casals recordings
with immense
pleasure it is always good to be able to welcome the many new versions, each
shedding new light on these fascinating works. I have no idea how many are currently
available or whether it has yet reached treble figures, but I do remember that
as recently as 1999 a recording by Susan Sheppard (no relation) was advertised
as being the first by a woman. Intriguing as that version was I remain unclear
whether its virtues were in any way due to the performer’s gender. Certainly
it is hard to see that its more rhetorical approach had much in common with the
present version so as to suggest that there is a specifically female way of playing
the Suites. On the contrary, this version shows, yet again, the extraordinary
way in which they offer the player possibilities to demonstrate the range of
his or her musical imagination and sensitivity. I have enormously enjoyed performances
from many distinguished players of very widely differing approaches, and am very
happy that Karine Georgian is now one of that number.
At the risk of making these recordings sound dull, I should begin by saying that
there is no unique selling point to these discs, no oddity of performance that
the reviewer can seize upon. On the contrary, what struck me throughout was the
player’s wise choice as each hurdle of performance decisions was reached.
Rhythms are allowed to be flexible, but not to the extent of losing touch with
the essential flow of each movement. Dynamics are kept within a relatively tight
rein. Repeats are taken when asked for, and although Ms Georgian clearly has
a wide palette of articulation available, she uses it for essentially musical
rather than showy purposes. I hesitate to use the word ‘sensible’ as
that might suggest some dullness or lack of imagination in these performances,
but they are sensible in presenting the essential line and character of each
Suite without fuss but with great finesse. It helps that Ms Georgian’s
tone is of considerable beauty and her intonation beyond reproach, and that the
recording sounds close but manages to avoid picking up incidental sounds.
The Sonatas have also been the subject of many recordings in recent years, mainly
using the viola da gamba rather than the cello. As this was the instrument for
which they were written this is unsurprising, but it is a pleasure to hear them
once again on an instrument with a greater tonal range. The problem in these
works is usually one of balance and it has not entirely been solved here. Effectively
they are trio sonatas, with two upper lines and a bass line - the G major Sonata
does indeed exist also in a version for two flutes and continuo. If you want
to be able to hear a real equality of the upper lines you have to go to that
version. There is an inherent difficulty in balancing a line played on a sustaining
instrument such as the cello with one played on the harpsichord. At times here
the former does tend to obscure the latter. Nonetheless the balance overall is
better than on many rival versions, helped by Ms Georgian’s great care
over articulation and avoidance of excessive vibrato on long held notes. I thoroughly
enjoyed all three works and was left wanting more. There is indeed room for more
on the disc but given that the set can be obtained at a bargain price it is perhaps
churlish to complain.
The enormous number of competing versions means that no one recording of either
set of works could sensibly be said to be an automatic first choice. This set
does nonetheless have formidable virtues. These may not be the most exciting
versions of the Suites in particular, but I am not sure that excitement is an
important virtue in these pieces. Much more important is sensitivity to their
style and musical line, and this is something that these recordings most certainly
do have. If you want a version that is wise, companionable and mature in its
response to the music this is a set well worth investigating.
John Sheppard
Masterwork Index: Bach Cello Suites
Karine Georgian (cello); Gary Cooper
(harpsichord) 
