Recording a solo cello poses many problems for the engineers. The ambient acoustic of Notre-Dame de Bon Secours (Paris) provides a resonant acoustic and a sense of space for Bertrand’s eighteenth-century cello, built by Carlo Tononi. The booklet includes a warming but brief interview with Bertrand and her journey reconnecting with Bach, which feels personal and sincere. Watkin shows the spectrum of colours which can be achieved on a period instrument, with vivid contrasts, rhythmic vitality and a richness of tone that allow him to capture the essence of each movement. His tempos vary and diverge from Bertrand’s, but his attention to detail engages to a deeper level. David Watkin gives a more sophisticated reading, with all the intrinsic detail and a strong sense of movement of the dance. With her rhythmic freedom, the essence of the dance becomes lost, obscured further by irregular phrasing. Throughout, expressive variety is restrained, articulation, homogeneous and dynamically constricted. The Sixth has the most dance-like qualities overall, but not always with convincing assurance.īertrand achieves a personal reading in this cycle. Suite Five is darker, almost foreboding but not making the most of the climaxes. The Fourth Suite, less inhibited by the acoustics, has a similar feel to the First but with greater spirit, the Courante and Bourrées being the most characterful dances (CD 2, tracks 3 and 5). Though in the Sarabande (track 16), the rhythmic imprecision hinders the ability to sense the underlying pulse and stateliness. On reaching the Third Suite, the approach is free-spirited, mystical perhaps. The Second Suite has an edgy, slightly aggressive quality, achieved through brisker tempos, notably in the Allemande and Courante. In the Sarabande (track 4), the acoustics are used to dramatic effect, but in doing so the impetus is obscured. The prelude is unassuming, but soon loses its way, lacking climax. In the First Suite, Bertrand has an evolving, meandering feeling, in which there is a relaxed approach to pulse and rhythm, whilst using some unusual phrasing.
Bertrand, like Stephen Isserlis, seems to characterise each suite with a prevailing narrative. Bertrand takes an expressive approach these are not to be danced to, they are of the same aesthetic as Waltzes by Chopin - something to be admired, savoured, listened to and reflected upon. Some focus on the character of the dance, others the prevailing mood. They require a musician with deep insight into these very introspective pieces, explaining why every cellist sees these works differently.
The suites pose a challenge in producing interpretations which are communicative and perceptive whilst balancing the essence of a dance.
0 kommentar(er)
