Customer Reviews

Bach: The 6 Cello Suites

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Overtime, I have warmed to over 20 accounts of these six suites for solo cello on compact disc. Few I have taken back or given away and few I have reverred as superlative readings of a "desert-island" status. Inspite of many mixed feelings which seemed to slowly melt away after repeated listenings, this has become one of the latter. It is indeed one of the most superb accounts of Bach's cello suites, but one that will come over terribly boring upon first hearing or from superficial comparisons with other more immediately exciting versions. That was my first impression. I had been listening obsessively to Mischa Maisky's second recording on Deutche Gramophone, a bold and wildly abstract version that stands all in a category of its own. This too was a challenge for me to appreciate, but I eventually did. Such is the nature of these suites...an inner fabric seems to run through the music that is so strong and inexplicable it can withstand an unusually broad degree of personal interpretation. But Mensesses could sound dull and monochromatic in comparison to many versions, needless to say Maisky. But one must keep listening. One must realize his intent is not to color the suites, like a Maisky, a Wispelwey or a Haimovitz (thankfully!). His approach is not one that instantly spills its virtues in the first few bars--a rich, muscular double stop, a bouyant rythymn, distinct accents or vibrato, unexpected rubato. But what meretricious effects compared to the greater virtues of this vastly underrated Meneses! What one marvels at in Menesses is the indefatigable consistency and humility with which he plays. He eschews the temptation to import color or variety, and effortlessly draws out the infinite variety inherint in the musical lines themselves. The very architecture of a minuet or gavottee is illuminated, its inner voices speak like repeating mantras and their play in that grand architecture is revealed. This he chooses over a charming dancelike sway that, inspite of its delights, is the same old thing every time you hear it. This is the revelation of Meneses's interpretation. His tone is perfect--dry but rich and warm at the same time, like an aged Marsala, and always pure, never trying to disguise its identity. Bach had a near obsessive humility his entire life. Menseses, more than any performer, reflects that. And there is a detached serenity to his performance that you will find most rewarding, if not absolutely mesmerizing, provided you merely give him a chance.

I have more than a dozen or so of these performances. I found Meneses just as good as any of those in the upper third of my collection - highly recommended. Just so you know where I am coming from, I do not like Ma or Rostapovich. All of Ma's versions seem too "sterile" and Rostapovich is too "dreary". The classic recording of Casals and both recordings of Starker are favorites of mine. I also like the more recent one by Queyras.

There is much to admire in these performances just as there is much to dislike. I think one can say that about most performances of these suites. Meneses seems to do better (in my view) in the minor key suites (#2, #5). He rips through the Prelude of the first suite in lightning fashion as Rostropovich does. I don't find this very musical. I was surprised that he played the Courante slower than many others play. If you like a more leisurely Bach, this is definitely not for you. More than any other performer I have heard, he conveys the sorrow of the d minor Sarabande. It is an achingly beautiful rendition. I like what he does with the C major Gigue, but the rest of this suite left me cold.
I was puzzled by his approach to the E-flat suite. He takes the Prelude much faster than I am used to hearing and just when you think he is going to roar through this suite, the Allemande is soft and unfocused, but the double stops are nicely done. But he gets the Gigue just right. I think he gets the c minor suite just right except for the annoying breathing I hear and the bowing. My feeling is that if I am hearing the bow, something is not right.
The Prelude of the D major suite is taken too fast for my taste, but the Allemande is quite lovely. Intonation throughout is impeccable. Meneses's approach to these suites is quite modern. His playing is brisk throughout (except of course in the Sarabandes) and often the sheer speed with which he plays loses some of the music's beauty. None of the elegance of Fournier here. This is a very straightforward reading in a very modern style and if that appeals to you, then he is your guy. Note values are strictly adhered to (except for the D in the Prelude of the first suite which is extended). There is virtually no use of rubato (unlike Yo-Yo ma and Starker). For those who don't know this music well or are not musicians, I would recommend the set on Philips by Maurice Gendron for a modern instrument traversal. For those looking for a set played on a baroque cello, I would recommend Jaap ter Linden. (I have not heard the second version by Anner Bylsma.) I have about seven or eight different versions of these suites.

After listening to samples of 4 artists playing this music I chose this CD based on quality of sound. Now I have CD I am over the moon with the music. Great will buy more from this artist.

Enjoy.