Customer Reviews

Bach: 6 Suiten für Violoncello solo

5 star:		(37)
4 star:		(1)
3 star:		(1)
2 star:		(4)
1 star:		(2)

 

 

I recently did a comparative listening of the Fournier Bach suites--one of the first pieces of cello music I owned after taking up cello in fourth grade!--with recent recordings by Ma and Rostropovich. I was delighted to find that my old emotional memories of the Fournier were accurate--it is completely musical from end to end, and the sound is gorgeous. The fifth and sixth suites, in particular, are in a class by themselves. The Sarabande to Suite 6 is among the most beautiful cuts of cello music ever recorded. More surprising was the fact that the sound and production quality were also the best of the lot when we listened on studio monitors. Very nice room sound, and good mastering work. We also had the distinct impression that mikes and mike placements were chosen for each movement (e.g., the ambient sound for the heavy prelude to Suite 5 is different from that of the high and fast-moving Gigue to Suite 6.) If you want one recording of the Bach suites, this is the one to get.

Mr. McLellan's brief review for Amazon is dead on! Pierre Fournier's by now classic recording of the Bach Suites remains unchallenged, and the joy of the Kapellmeister is its everlasting motive! There simply is no rival to this rendition of these spiritual classics. The only other claimant on the horizon would be the version by Janos Starker; yet for all of Starker's understanding of Bach's invigorated masterpieces, I don't believe his conception is as cultured or his over-arching execution as fine as that of Fournier. The great assuredness of the Prelude of the first Suite is sweetened by Fournier's rich thought, and his handling of the Prelude of the sixth Suite, with its climbing 1-3-1-5-1-8 pattern, is so humanly drawn- like an illuminated letter in a Book of Hours! -well, as the French say, comparison is no comparison! The fifth Suite with its famous Sarabande hangs like a late afternoon in Sainte-Chapelle! This is art ineffacable and indispensable. Forget Ma's interpretation- he plays it like a schoolboy; Rostropovich is inconstant; Casals ends by offering more Casals than Bach; Heinrich Schiff goes deep but cannot be said to have wagered with Time itself in essaying these Suites - there is impatience in his probing version. Maisky, whose playing is always informed and beautiful, often keeps himself from the very joy that wings from Fournier's body and bow! Fournier doesn't perform, he holds court; and an audience with his Sebastian Bach is more rewarding by leagues than mere regal favor. Listen and be ennobled; here is art beholden to the gods.

This is one of the greatest albums of cello music ever made. Fournier knows this music inside and out, and he probes the depths for what is hidden in these suites. Furthermore, Fournier's sound and technique are almost without peer. This album and the ones by Casals could be taken as the absolute references for these works. The recorded sound is superb, especially in this reissue.

Fournier uses a rare circa-1722 Venetian Matteo Goffriler Cello for these recordings; hence their distinctive timbre which is without parallel in the Bach solo cello suites discography. Fournier's choice of instrument is vital in that Bach wrote these pieces between 1717 and 1723, while Kappelmeister in Kothen. This instrument, combined with Fournier's tasteful period-influenced lack of excessive vibrato may be the reason behind some of the less-than-positive reactions here. Incidentally, that Fournier's performance is still the benchmark for the repertory is evidenced by the fact that the original LPs featuring 2 suites apiece easily sell for a good deal more than the entire CD set as priced here. For those who prefer ahistorical histrionics, by all means go with Yo Yo. For those who would actually like to have a distinct notion of how these pieces must have sounded to Bach's contemporaries, I suggest the great Fournier.

Of the five versions of the Bach cello suites that I have heard -- Rostropovich, Starker, Yo-Yo Ma, Casals, and Fournier -- the Fournier in my opinion must get the nod as the finest overall. Ma seems mannered to me, and Starker a bit on the dry side. The Casals is important historically, but I find it stiff in its phrasing. There are moments in the Rostropovich set that I treasure above the corresponding moments in the Fournier, but the sound is muddy and Rostropovich's intonation is, honestly, not all it could be in all instances. The Fournier is beautifully recorded, despite the rough spot noted by several other reviewers, rhythmically assured, deeply felt, noble, and completely in the service of the composer. It is thoroughly beautiful. If you like Arthur Grumiaux's version of the solo violin sonatas and partitas, you will like this version of the cello suites.

I don't use to write reviews or comments, but reading previous ones rating this recording so low, I must do something to increase its value.
I own the cello suites in several versions by Casals, Yo-yo Ma and Fournier's. This is the most "Bachian" and trustful to barroque spirit (don't know other versions)of all three. Very well recorded (that cello sounds as if was in your room), has tempo, virtuosity and emmotion. Yo-Yo Ma's is good, but lacks the tempo and has too much emmotion, I think it's not as trustful to Bach's intention, but is also worth listening. Casals is also outstanding, but the old recording quality sometimes takes focus away from the music.
If you are looking for a first version for your collection or you are a music lover that already have it by other performers, you should have it or at least give it an audition. Its weakness (if any) is that Fournier's cello sometimes sounds so bass heavy that seems it has 5 or 6 strings, but it's very pleasant.

This music is mesmerizing. Fournier makes you journey into a transcendent world of utter peace and happiness. Fournier was aristocratic, extremely self-critical artist of the old school.
He also succeeded into the position left vacant by none other than Pablo Casals at Prades in Southern France. Fournier was invited to perform Bach's suites at the Prades festival in the church of San michel de Cuxa. The church was filled to capacity, and the audience was profoundly moved by Fournier's concentrated and deeply felt tribute to Casals. There was no applause at the end of the recital, but instead the entire audience rose to its feet and stood in absolute silence. Moved to tears of joy! Buy these and you will NOT REGRET

As a youngster, playing the violin, I was always envious of the cello. While never persued further, I would try to take advantage of any opportunity to hear the cello in performance. And so, in college, I noted an announcement of a free (!) cello performance of Bach suites in the music building (UT Austin, mid 70's). My interest in the cello was very uninformed. I certainly was familiar with many of Bach's works, but not the Cello Suites, and not with Pierre Fournier.
But soon I found myself, in the middle of the afernoon, in the smallish performance hall of the music building, four rows back, listening to Pierre Fournier himself (there to teach a master's class), playing I'm not sure anymore what else, but also a Suite for Cello.
And that was that. A lifetime of love.
It is a testament to music, that a relatively uninformed ear, graced by perhaps the finest performer of perhaps the finest music of the human experience, would notice something special.
And so Bach, the Suites for Cello, and Pierre Fournier have accompanied me throughout life, as have my recordings of Pierre Fournier playing them, on LP, and on original CD release.
(I must admit here, I have not heard this re-release.)
I was perfectly content with my one recording, by Fournier. In the last few years, however, I allowed that I should listen to others, and slowly accumulated Casals, Ma, Rostropovich, and now may of the youngsters in my CD collection. Some entrance, some lull, some amuse.
And I ALWAYS return to Fournier.
Fournier is my absolute refernce for the Suites. Not silly, not rushed, not extravagant, not hokey, not sentimental, not self-important. Not overly moody, not sterile, not overly dramatic for drama sake, not flamboyant, not showy, not show-off-ish.
Truly profound.
And so to the point of this 'review':
ANYONE with ANY interest in the Cello Suites, or music at all. MUST, IMHO, have this recording.
Period.

That said, I will simply point out a couple of things. This is an older recording (early1960s), but not as old as the Casals of the 30's. Solidly, cleanly and tightly engineered by Deutsche Grammophon. Warm, Musical, Analog.

This is my favorite version of the Bach Cello Suites. Fournier plays with such exquisite passion, it churns my heart achingly. Fournier plays the suites essentially Baroque, more earthy than ethereal, and I can't help but feel the resonance in my being, when I listen to Fournier's rendition, is a confirmation that this is how Bach wrote his Cello Suites.

The captivating sound, enriched lyricism and profound musicality of Pierre Fournier was always his quotidian landmark. All of us who have his famous Beethoven piano trios with Kempff and Szerying have realized his profound commitment and passion for the instrument.

And the whole result of these definitive Suites for cello could not be more fortunate. If I was required for the one hundred best performances of the XX Century, this recording should be included in most of lists.

A legendary album that for any reason must absent of your valued personal collection.