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Tony's Reviews > The Cello Suites: J. S. Bach, Pablo Casals, and the Search for A Baroque Masterpiece
The Cello Suites: J. S. Bach, Pablo Casals, and the Search for A Baroque Masterpiece
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Bach's Suites for Unaccompanied Cello have long been among my favorite pieces of music. Eric Silbin's The Cello Suites tenderly tracks them through Bach's creation, their 'discovery' by Pablo Casals and to the author's own exploration of the music and himself.
I really liked this book. Learned a lot, to be sure, about Bach, Casals and these wonderful notes. I found myself boring friends and family about implied harmony.
The book is structured in six chapters (the suites) of six sub-chapters (the movements) each. Within each chapter Silbin spends roughly two sub-chapters telling about Bach, two about Casals, and two of himself. Silbin made it all interesting, which made a few annoyances seem not so bad. So what, then, if he speculates some. There are other books, I assume, that take a more scholarly approach to the obvious questions raised. Silbin's work is more personal, part memoir actually. While I don't really likes memoirs, this was about a personal study of brilliant music. Well, that's why I was reading this book in the first place.
Two questions.
First, the sixth suite was written for an 'unknown' instrument, a five-string cello. I assume it's played now on a four-string cello. How is it transposed? Wouldn't there be 'chords' that can't be played on a traditional cello? I wish Silbin had answered that.
Second, I read this, of course, while playing (over and over) my copy of the Cello Suites, which really helped when he talked about the music itself, the best part of the book. My CD is Yo-Yo Ma's version. Any other recommendations out there of other performances? I'd really like to listen to another...and another.
I really liked this book. Learned a lot, to be sure, about Bach, Casals and these wonderful notes. I found myself boring friends and family about implied harmony.
The book is structured in six chapters (the suites) of six sub-chapters (the movements) each. Within each chapter Silbin spends roughly two sub-chapters telling about Bach, two about Casals, and two of himself. Silbin made it all interesting, which made a few annoyances seem not so bad. So what, then, if he speculates some. There are other books, I assume, that take a more scholarly approach to the obvious questions raised. Silbin's work is more personal, part memoir actually. While I don't really likes memoirs, this was about a personal study of brilliant music. Well, that's why I was reading this book in the first place.
Two questions.
First, the sixth suite was written for an 'unknown' instrument, a five-string cello. I assume it's played now on a four-string cello. How is it transposed? Wouldn't there be 'chords' that can't be played on a traditional cello? I wish Silbin had answered that.
Second, I read this, of course, while playing (over and over) my copy of the Cello Suites, which really helped when he talked about the music itself, the best part of the book. My CD is Yo-Yo Ma's version. Any other recommendations out there of other performances? I'd really like to listen to another...and another.
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April 29, 2010
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May 13, 2010
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May 30, 2010
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Jim
(last edited Jun 19, 2010 03:28PM)
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rated it 3 stars
Jun 19, 2010 03:25PM
Hi Tony, I just read your review after writing mine. I originally came to the suites through Anner Bylsma, whose interpretation is considered "baroque" - i.e. you really hear the "dance" movements, and his preludes are exceptional. Some recent interpretations you might like are by Ophelie Gaillard, Jean-Guihen Queyras, Steven Isserlis and Zuill Bailey. Each of these are excellent but quite different (you can compare samples of your favorite movements on iTunes and read reviews on Amazon). I just bought the set by Anne Gastinel, so they're new to my ear, but I'm liking them. Happy listening!
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Thanks, Jim. Sounds like you know what you're talking about. Very helpful.
Yes these suites have long been favourites of mine too, and I now can't wait to read this book. I originally heard Yo-Yo Ma play them too, but I think my favourite has to be Rostropovich, a real master of the cello (who my sister's violin teacher once got drunk with, so jelous) his recording of it is simply amazing, so you should definitely check it out if you haven't before.
I absolutely agree with getting drunk with cellists. Bassists would drink me under the table. Oboists couldn't hang.
That's pretty damn good. I've always loved Meyer's CD Uncommon Ritual.
Thank Alicia for me and assure her that I will avoid Zuill Bailey like the Plague. I need to work on my harmonic motion.
You should get the DVD with Rostropovich's recordings and talks/demonstrations on the pieces.
Glad I found this review via an update - I've been listening to the Yo Yo Ma versions for the last few years and love them - the music always make me imagine being on a big timber ship creaking and groaning its way across a deep, deep ocean..Would this book make a good present for a music loving friend?
It might depend on the friend's level of music knowledge, Fionnuala. I love music, and play enough guitar to be annoying to the neighbors; but I have not, as they say, had lessons. So I really liked the book. The small annoyances I had were not with the music in the book. I learned much. Thus, it would be wonderful for someone who likes to pour a glass, put Ma on the carousel, and dream themselves an ocean.Some reviewers who appear far more musically educated than me seem not to have liked this as much as me.
Tony wrote: "I really liked the book..."That's good enough for me, Tony!
Siblin plus Casals playing the suites should make a pretty good present!
The 'history' of the suites is pretty remarkable. And, as a tease, the one copy is in a stack of sheet music in a music shop, centuries since anybody ever played them. Not even marked for cello, mind you. And Casals and his Mother come in to browse.
For those interested there is also this double volume Bach's Cello Suites: Analyses and Explorations.It has a musical analyses and discusses the suits according to the movements or dances (the Preludes, the Allemandes, the Courantes... etc...)
I have the Casals recording, the Yo-Yo Ma, and then the DVD I mentioned above.
Yes, I noted the Rostropovich, Kall. Do you have a preference between the different versions?
Fionnuala wrote: "Yes, I noted the Rostropovich, Kall. Do you have a preference between the different versions?"The problem with the Casals is that it is an older recording so there is a hiss that "invites to be avoided" as the basic listen. I have listened most to the YoYoMa, but I have a great deal of respect for Rostropovich.
There is a dreadful DVD with YoYoMa... I understand what he was trying to do --make the Suites more accessible by playing in a shopping mall, on an escalator, on the snow...--... but I am more conservative and prefer the setting of the church.
Kalliope wrote: "Fionnuala wrote: "Yes, I noted the Rostropovich, Kall. Do you have a preference between the different versions?"The problem with the Casals is that it is an older recording so there is a hiss tha..."
Ah, and I have the first three suites played on a Theorbo...!!!!.. I love that version.
Ah, the Theorbo is Tony's five string cello!But maybe not...I see it's called a violoncello piccolo.
I second Jean Guihen-Queyras. I heard him play the cello suites at the Montreal Bach festival and have his CD. I was stunned that he played all six suites entirely from memory but I don't know if that's considered par for the course.
howl of minerva wrote: "I second Jean Guihen-Queyras. I heard him play the cello suites at the Montreal Bach festival and have his CD. I was stunned that he played all six suites entirely from memory but I don't know if t..."To play without the score is expected. I heard Natalia Gutman (pupil of Rostropovich) play the entire suites (in two days: 3 + 3) with her eyes closed.
Kalliope wrote: "howl of minerva wrote: "I second Jean Guihen-Queyras. I heard him play the cello suites at the Montreal Bach festival and have his CD. I was stunned that he played all six suites entirely from memo..."See - this is why I love this site. Just bought the Pieter Wispelwey to add to my collection...
As for the drinking skills of Bassists - it was always us French Hornists and them left at the end of the night...We always seemed to be the "naughty" sections in any orchestra I was in...
As noted above, the Theorbo isn't the instrument in question, but was cello with an additional, higher string. The only enormous changes required for a modern cellist is to play some much higher positions than otherwise (meaning to play with your left hand much closer to the bridge) As for recordings, it can be very hard to listen to interpretations vastly different from your initial experience and conception of a piece, but two notable but lesser known players would be the diametrically (this is a partial pun) opposed Pierre Fournier, and the much quicker Heinrich Schiff. I will provide youtube links below. You might find that patience is required listening to Schiff where he takes a tempo you feel far too quick, but keep in mind that many players choose to play it quite slow, and Schiff is probably not far off from the intended speed (tempo was sort of up to you back then) if you listen to the inner movements you might be more receptive. For me, Schiff is the pinnacle, though I own many other versions.
- Fournier
- Schiff
Having listened to about 50 different recordings, I find it impossible to choose a single favourite. Different approaches appeal in different ways. Some performances aren't well served by the recordings, and some performances seem inconsistent to me.I agree Queyras is great, and Pandolfo, and Wispelwey. I also very much like William Butt, whose live performance has a spontaneous feel. I also keep returning to Paul Tortelier, which seems like a good reference recording against which to match any other. But more than anything, I find that whichever recording I'm listening to, my reservations tend to fall away as I become accustomed to that particular cellist's style. The music works its magic regardless of the interpretation.
Alex wrote: "Having listened to about 50 different recordings, I find it impossible to choose a single favourite. Different approaches appeal in different ways. Some performances aren't well served by the recor..."Thank you, Alex.
I'm late to the party, but here are two favorites of mine:Pieter Wispelwey brings a sense of the dance to the Cello Suites
Lillian Fuchs recorded the Suites on viola
Paul wrote: "I'm late to the party, but here are two favorites of mine:Pieter Wispelwey brings a sense of the dance to the Cello Suites
Lillian Fuchs recorded the ..."
Really liked the Lillian Fuchs. Thanks for sharing.
Just thought I'd add a mention of Anner Bylsma, who recently passed: Here's a sample of his second recording of the Cello Suites:
He was one of Pieter Wispelwey's mentors, so if Wispelwey's playing didn't grab you, Bylsma's might not either.
I just noticed that the first comment made mention of Anner Bylsma. I guess that's a lesson for me to read before I write.
Here's a clip from Pieter Wispelwey's third recording of the Cello Suites:
