Customer Reviews

BACH: 6 Cello Suites / Bruno Cocset 2CD

5 star:		(3)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I was lookin'4 a very personal vision of t 6suites. My references were both Bylsma records, but t last one has more than 15y (a beautiful dark sound music with a 1701 Stradivarius Servais), and i wanted somethin' new. i was tempted to buy t Queyras performance (high rigorous without loosin' t beauty) and i had brought t 2nd Pandolfo with a viola da gamba (one of t most amazing records i own). So t new cello version should be undoubted/ special.
And it is. Very intimate and absolut/ amazing. For each suite we have a different cello. For each mood we've a diferent sound. It's the only record that i remember having a text of the cello maker (which means a lot in a work where the instrument has this weight).
I don't pretend to advise no1 to buy this record, cos t 6suites have so many wonderful and diferent records. Nevertless t Bruno Cocset version's a standard. This music will sound like t 1st time it sound to us and at t same time it's so close to t memory of music that we know.
What is wonderful in t sound of this record is that we listen to t music as it is played. We listen to its movement and its scale, something that we can only capture in a single instrument play.
My best version of the 6suites at the moment.

I think it is great when you can hear the breathing and finger clacking of the player. If they are excellent, those extra noises will not matter and might make the performance even better. It sounds really earthy that way to me. My cello professor breathes loud when he plays, but it has never bothered me. With scholarly cello players like these, you can just hear how well they have planned out how they will play the suite. I really like the Prelude of the CM Suite when he works his way into the pedal point and pauses at that bottom of the two where the octave is played. I think this CD has a lot of character and I wish I owned one! Sell me yours if you don't like the clacking fingers. Anyone complaining about clacking fingers is missing all the other stuff going on.

For me, this is the definitive recording! who cares about the miking? Here these pieces in concert. Hear Kuiken or Anner Blysma live. Hear the fingers, the breathing, the players expressing himself, see Kuiken's sweat dripping on the fingerboard in summery hot Bruges while Wieland unlocks new worlds ...
It is the music, the cello playing itself that counts and Cocset is simply other worldly. I say this as a cellist and luthier with experience in particular with the baroque cello.
The period cello is not an excuse and the playing needs none.

I find this album so poorly recorded as to be unlistenable. The miking is so close that we hear every grunt, moan and wheeze. There is a constant clacking as Bruno hammers on the finger board. Since the fingers are positioned ahead of playing the note, this noise is out of time with the music and so loud, it is impossible to ignore.
Bruno should have his knuckles rapped with a bow!
The hall has so much reverbertion, it sounds like the subway. Perhaps that is why it is miked too close.
What could have been a fine performance is obscured by several inexcusable and inexplicable production choices.
I bought this CD to hear Bach's music, not Mr. Bruno's bodily functions. What sort of ego presumes otherwise.
This recording is an insult to the music and the listener.