Bach Cello Suites

[Antoine Marchand]

... I am kind of completist in this matter...

I think the definition of your completism falls a bit short. 

[Dancing Divertimentian]

I am very much impressed by Ophelia Gaillard´s second recording 2011. As to her first recording 2000 it is OOP, but I have been fortunate to get hold of one of the two CDs. Have not listened to it yet (too much else to listen to). In the week to come I shall listen to it to be able to answer your question.

I haven't heard Gaillard's second recording of the suites but I've had her first recording for years and have always found her interpretations striking. She's extremely dextrous up and down the range with much flexibility so that the 'swing' in the music is much to the fore (the dance).

She's also wonderfully attuned to the melancholic elements in the music, which serves to enrich the overall mood. I don't know how she does it but she takes this mixture of hers and produces great beauty.


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[Bogey]

I haven't heard Gaillard's second recording of the suites but I've had her first recording for years and have always found her interpretations striking. She's extremely dextrous up and down the range with much flexibility so that the 'swing' in the music is much to the fore (the dance).

She's also wonderfully attuned to the melancholic elements in the music, which serves to enrich the overall mood. I don't know how she does it but she takes this mixture of hers and produces great beauty.


[asin]B00008OTMQ[/asin]

And from Arkiv:

Ten years later she revisits Bach, performing on a cello made in 1737 by Bach's contemporary, Matteo Goffriller.

[Dancing Divertimentian]

Just out of curiosity, has the opinion of Beschi's set (on Winter & Winter) changed? It used to be a prime recommendation but now seems to get no mentions at all.

It's another set I enjoy but is nothing like Gaillard. Beschi digs into the music more, with an eye towards the exploratory, but without the swinging musical line of Gaillard. 

Still there's much to admire.

[Dancing Divertimentian]

And from Arkiv:

Ten years later she revisits Bach, performing on a cello made in 1737 by Bach's contemporary, Matteo Goffriller.

Thanks, Bill. Interesting about that choice of cello.

I'm not all that versed in period instrument lore, so what differences there'd be between this cello and the one Gaillard used for her first set (which is listed as anonymous 18th c. French) I wouldn't know. But could be pretty illuminating. (Wonder if premont might be persuaded to give comparisons?)

[Mandryka]

No. 5 is my favorite among the suites and the first suite I listen to when I get hold of a new recording. But again you put me an impossible question when asking me which one is my favorite no. 5,  since I have 120 sets to choose from. Well because I am kind of completist in this matter, but also because I think that all aspects of the music can not be displayed in one performance. Variety within sensible limits is IMO a rewarding thing, and there are only a few of these 120 sets which are more or less unlistenable first and foremost because of insufficient technical powers, e.g. Cassado(Vox) or Navarra (Calliope). But I very much appreciate the timeless style of Starker and the passionate Casals.

Lipkind is one of the few I have avoided other than Maisky, having read many times, that their approach is unashamed romantic. Add to this that Lipkind is very expensive, and I can not find out if it is hybrid or exclusively SACD.

Lipkin is very personal and that's why I was interested in playing it through spotify. In fact after making that post yesterday I tried again with 6,   but couldn't get all the way to the end. I stopped at the Gigue. He's better in the fast dances. When the Courante arrives you feel a wonderful sense of relief that the Allemande is over -- but then all too quickly the slow Sarabande pops up. I felt on the second listening that he really wasn't a good enough story teller to stop the music disintegrating in the allemande , and that he really didn't have enough to say to make his similar treatment of sarabande and allemende justified.

I recommend spotify, just because you can very easily check out things like this. Gaillard is there, for example, and of course Lipkin. Not Badiarov unfortunately.

[jlaurson]

Lipkind is one of the few I have avoided other than Maisky, having read many times, that their approach is unashamed romantic. Add to this that Lipkind is very expensive, and I can not find out if it is hybrid or exclusively SACD.

Yes, the approach if rather unashamed... and also romantic. But it's no longer crazy expensive.
As per SACD (it is Hybrid), you only had needed to ask or read.

From WETA:

Lipkind's recording on the edel classics is very special even before you've heard a single note. A more lavishly packaged set can scarcely be imagined. In a protective sleeve awaits a thick leathery box (it is made of very thick paper specially treated to imitate leather) with gold lettering and braille dots that unfolds a bit like the Isenheim Altar. In it are three hybrid-SACDs, a 'map' to Lipkind's performance and ideas about the Suites, and extensive, erudite liner notes. Since the set is made by "Lipkind Productions in cooperation with edel classics", apparently the first volume in a series called "Single Voice Polyphony", the suspicion arose that this is a very, very fancy vanity production.

Maybe – probably – it is. But whether Lipkind or his father or kind private sponsors paid for this production, or a record company, is insubstantial given the contents. Certainly Gavriel Lipkind, of whom I had never heard before, hasn't recorded the set of Bach Suites to please all, but precisely in not trying to please everyone he has achieved something that, for the time being, has toppled my Cello Suite hierarchy.

The recorded sound is impressive (which also means: unsubtle), a wee bit less detailed than ideal, but incredibly natural, warm, and breathing. It's recorded at a nearly ideal distance to the cello: you don't hear every finger sliding over the strings, nor every breath, and it's not too distant, either. Occasionally things buzz a little, but then again, so does a real cello. The richness in the tone of the Fifth Suite's Gavotte might be thought slightly muddy compared to the airy Gastinel – but elsewhere the cello's sound is among the most beautiful of the eight reviewed, even in regular CD mode.

He plays in a very individual style, varied and elastic, with accents and dynamic variations in abundance. You'd think that Lipkind would need more time than the clear Gastinel with this emotive and liberal style. He doesn't: sometimes unnoticeably, sometimes flamboyantly, he makes up for time lost with incredibly fleet and light playing, to the point of superficiality in the Gavotte II of Suite No.5, but more often to dazzling effect. Romantic might be a suitable description and with lots of personality. His playing reminds me a little of Christophe Rousset's style on the harpsichord. Even if you don't quite follow the elaborate and near-mystical 'analysis' of the Suites (interesting though it is) and their interrelation, this is a most tempting offering for all who needn't have their Bach entirely straight-laced.

[prémont]

Mandryka and Jens

Thanks for your informations. BTW I think I opt for the acquisition of the Lipkind, if it can be purchased from an Europaean website for a reasonable cost.

[prémont]

I think the definition of your completism falls a bit short. 

Well, maybe I should have written "completist in this and in a number of other matters". 

[SonicMan46]

I haven't heard Gaillard's second recording of the suites but I've had her first recording for years and have always found her interpretations striking. She's extremely dextrous up and down the range with much flexibility so that the 'swing' in the music is much to the fore (the dance).

She's also wonderfully attuned to the melancholic elements in the music, which serves to enrich the overall mood. I don't know how she does it but she takes this mixture of hers and produces great beauty.


 

For those interested in some 'comparison' comments between her different performances (and interpretations), Giordano Bruno (one of the handful of Amazon reviewers that I do read w/ interest) provides some insight - from his statements and knowing how my ears enjoy these works, I probably would prefer the newer recording - I would like to know more about her cello on the second recording, i.e. gut strung, bow used, and bowing technique?  Dave

[Marc]

[....] Anner Bylsma (1979 recording).
[....]

IS that the first one? If so then yes -- very special. It's been a gruff old friend now for over 20 years.

I think so. I only know of 2 Bylsma recordings (1979 and 1992). I specifically mentioned the year of recording, because I don't know the 2nd one.

But who knows, a certain Danish completist might be able to tell us more about the differences between the two.

[DavidRoss]

And from Arkiv:

Ten years later she revisits Bach, performing on a cello made in 1737 by Bach's contemporary, Matteo Goffriller.

Has she learned to keep time in the interim?

[SonicMan46]

Has she learned to keep time in the interim?

David - explanation please -    I'd loved to have a 'lady' playing these works in my collections and am really considering her 'second' recording - have you heard that one?  Just curious - Dave

[Dancing Divertimentian]

For those interested in some 'comparison' comments between her different performances (and interpretations), Giordano Bruno (one of the handful of Amazon reviewers that I do read w/ interest) provides some insight - from his statements and knowing how my ears enjoy these works, I probably would prefer the newer recording - I would like to know more about her cello on the second recording, i.e. gut strung, bow used, and bowing technique?  Dave

Thanks for the link, Dave. Interesting read.

That's a pretty serious revision in her approach to the suites. It would be interesting indeed to make comparisons.

I find Mr. Bruno's characterization of Gaillard's first recording to be pretty accurate, although I take slight issue with the phrase "deliberately fierce" in reference to her bowing. Not that that's necessarily meant to be in the pejorative, especially in the context of his subsequent comments regarding her playing (spirited, rambunctious). But overall I find her touch dextrous and dance-like, with much feeling.

[Dancing Divertimentian]

Has she learned to keep time in the interim?

Can you please explain?

[DavidRoss]

David - explanation please -    I'd loved to have a 'lady' playing these works in my collections and am really considering her 'second' recording - have you heard that one?  Just curious - Dave

Have not heard the new one.  I would like to. 

Can you please explain?

She's all over the place rhythmically.  I don't mean lots of rubato and fluid tempo changes, but frequent inability to find the beat within phrases...like a "racist" stereotype about "white" people unable to keep rhythm:

1..2..3...4..1..2...3.4..1...2..3.anda.4..1.2..and.3..4.

[Dancing Divertimentian]

She's all over the place rhythmically.

Hardly.

I don't mean lots of rubato and fluid tempo changes, but frequent inability to find the beat within phrases...like a "racist" stereotype about "white" people unable to keep rhythm:

1..2..3...4..1..2...3.4..1...2..3.anda.4..1.2..and.3..4.

Her neatest trick is in finding the dance rhythms inherent in the music. It's unmistakable and gives her interpretations the verve I mentioned above. If what you're saying is true this feeling of dance wouldn't be audible (tangible) in the least. I mean, you make it sound as if she were attempting to drive with a blindfold on! It'd be nothing but a demolition derby.

Nothing could be further from the truth. 

[Bogey]

Here she be on youtube....

http://www.youtube.com/watch?v=poCw2CCrfzA

and then there is Ma, my favorite (about the only place I put him at the tip-top....even over Casals):

http://www.youtube.com/watch?v=PIM1qT0sqKM&feature=related

[Bogey]

I would like to know more about her cello on the second recording, i.e. gut strung, bow used, and bowing technique?  Dave

Some discussion here, Dave.

http://cellofun.yuku.com/topic/9096/The-Ideal-Sound

[SonicMan46]

Thanks Guys for the comments - getting more intrigued by this gal's second recording of these works, especially after reading the link provided by Bill, i.e. different cello w/ gut strings - I dislike listening to short snippets in trying to decide on the purchase of a CD, so will await comments of our Bach experts!