Customer Reviews

Bach: 6 Cello-Suiten

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2 star:		(1)
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Many people have accused the Maisky interpretation of the Bach Unaccompanied Cello Suites as "romanticized." I have just two words for Maisky's critics: "So What?"

What truly matters is that Mischa Maisky is the most energetic and most original devotee of Bach. His version of the Bach Cello Suites is not only the best in the market today, but more importantly, demonstrates that music should be played by an artist, not for the sake of accuracy, but for the purpose of art and its resulting empathy which infuses the audience.

The Bach Cello Suites have never been played with such virtuosity. The flourishing vibrato and climaxes of the D minor Prelude, the joyous, celebratory exultations of the D major Gavotte and Gigue, and the haunting intonations of the C minor Sarabande, demonstrates that Mr. Maisky expresses and translates his own subjective, emotional candor in a very objective and skillful interpretation of the Bach Suites.

The Maisky interpretation does not fulfill the ascetic, baroque qualities of Bach, such as in the superb recordings of Yo-Yo Ma. Yet, it completely transcends Bach to a more modern and ethereal focus. Only a handful of Bach devotees have attempted to do this and still be able to maintain the spirit of Bach. These artists would include names such as, Glenn Gould, Arthur Grumiaux, Mstislav Rostropovich, Oscar Shumsky, and now, with his splendid interpretation, Mischa Maisky.

The criticism inflicted upon Mr. Maisky is probably as a result of the first impressions made with his expeditious rendition of the G major Prelude. At first, this unorthodox rendition threw me off as well, yet I became captivated with this approach, because of the enigmatic energy it exudes the more the listener accepts its uninhibited artistry.

Conductor Daniel Barenboim once said that musicians must have a "child-like" quality in their music. He stated this remark because music, in its essence, is an expression of unadulterated, spiritual creativity that musicians must express as if they are playing it for the first time, as a transcendent revelation. Maisky's interpretation, without a question, follows this philosophy and fills the void that has been lacking in Bach since the Rostropovich interpretation of the suites, seven years ago. Thus, it is not unfair to label Mischa Maisky's recording as "child-like," whereas his critics, and their criticism of his interpretation as romanticized, can be called "childish."

This is, without a doubt, the most bizarre version of the Bach Cello Suites I have ever heard. It is ultra-romanticized, with thick vibrato and tempi choices I've never heard before.

But, it's really, really, really good. Not my favorite, that (ironically) goes to this CD's antithesis, the Pierre Fournier version.

But there's an interesting point to be made, in that both of these versions are amazing and equally valid. We don't know what Bach would have wanted the pieces to sound like - maybe if he had access to modern instruments he'd want romantic, maybe not.

Either way, this set is well-performed, beautiful, and dance-like. Give it a shot

Of course everyone hears different regarding string players, and in Baroque Music it's even worse. Maisky's first recording of the Suites was heavy handed and poorly understood. I think he does no better in this new recording. If you want these Suites in a modern cello you should stick with the classic 1961 Pierre Fournier version in Archiv, after 40 years still a marvelous recording from the most elegant of cellists. But you would be wrong to think that period instruments are dry or austere. Do please listen to Pieter Wispelwey's new recording in Channel Classics, it's so vibrant and imaginative that it's a delight. This recording will get my vote as the finest recording available today, though Anner Bylsma on SONY should also be considered.

I think there might be some confusion betwixt these reviews.
To those who do not know... there are 2 versions of this recording.

The original circa 1985ish is more romantic and at the same time more standard a rendition. It is a younger Mischa eager to please. Its the up and coming Mischa paying careful attention to correctness of form, yet imbuing the work with as much emotion as he can muster without breaking the propriety barrier.

This newer version strikes me as that of a gilded primadona Mischa. To hell with convention... This version verges on jazzy. (the metronome has been relegated to the waste-basket)

BUT HEY !!!
That may be exactly what you are looking for.

It may seem that I am partial to the original recording but actually they both have their strengths. The newer version appears to be more closely miked as well (more pronounced fret noise / slightly sharper harmonics).

New version: An exercise in self expression. "I love performance art"

Old version: A meticulously crafted rendition. "All mimes should be shot on sight!"

Bach wrote for God, not for Early Music fanatics, who invent a rhythm neither godly nor manly for their music: people cannot count in even time when emotions run raw, as a matter of science (try it yourself).

Maisky understands that and plays these suites with the freedom of a singer, giving us the performance this exquisite music deserves.

Bravo, Maisky!

Reader, enjoy@

After absolutely being enchanted by the Maisky/Argerich version of the Back cello (gamba) sonatas, I had high hopes for these new recordings. Not only are the tempos a disaster ( the prelude No 1 is especially hideous) but Maisky even insists upon ending each movement with his own little trill. All in the name of "romantic recording". The tempos sound contrived at best. With the exception of the Prelude to the D Minor, which is glorious, the best hopes for this CD are use as a frisbee. Save your money!