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Reviewer: David
W. Moore
These two programs cover
identical musical ground in notably different ways. Ylonen plays the six
suites in an unusual order. His reason for that is explained in Lauri
Suurpaa’s liner notes. Apparently Ylonen associates the gloomy and
stupendous Suite 5 in C minor with the crucifixion of Jesus and the even
bigger and more demanding Suite 6 in D with the joys of Christmas. The
program begins with Suite 5; then we move into a much more positive C major
with Suite 3, then back into doom and gloom with Suite 2 in D minor, then
happy-happy-joy-joy Suite 1 in G major and the thoughtful Suite 4 in E-flat.
Suddenly it’s Christmastime and we end up in the stratosphere with Suite 6.
Ylonen has had a considerable career as a cellist, has won many prizes and
made many recordings. His Bach is up there with the best. He includes all of
the repeats and plays with passion on a fine cello made by Bartolomeo
Cristoferi in 1720—Bach may have heard it. Emmanuelle Bertrand brings a different brand of interest to her performance. She plays the suites in their customary order and in somewhat more of an early-music style than Ylonen, with more use of open strings than we usually hear. This does not hurt the effect, since the strings are smooth gut, not scratchy metal. Also, the sound of them lends a new flavor to the music that suits it well. Bertrand tells us in the liner notes that she was inspired to record the suites when she found a cello made by Carlo Tononi (not Notoni) back in the early 1700s. I also play one of his; it is still by far my favorite instrument. It has a rich, warm tone, and it feels so good to hear another one on a recording!
Both of these are well worth
hearing. Both pay attention to the style and meaning
behind this
great music, though Ylonen plays in relatively modern phrasing, Bertrand in
a more period style. I hear them both with great pleasure. | ||||
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