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Reviewer: Caroline Gill
Youth has long been thought of as a considerable impediment to the artistically successful – live or recorded – performance of Bach’s Cello Suites. But Isang Enders has always done everything early, having been Principal Cello of the Dresden Staatskapelle at the age of 20, and his uncomplicated directness is one of the many strengths of this spotless performance of these complicated pieces.
There is not only a strong sense of the dance behind all the movements (even in the slow examples, whose speeds he chooses to pull up even further than most, especially in the Sarabandes), but of pulse: the forward motion of everything he plays is driven by a continual, metronomic tick that, although inaudible, is constantly transferred from Enders to the listener. That heartbeat runs from movement to movement with a consistency that also supports his choice to order the Suites by way of what he sees to be their harmonic progession (V, II, IV, III, I, VI); similarly Ditta Rohmann’s minutely crafted pair of volumes (Hungaroton, 5/14, 11/14).
The studio conditions of the disc work particularly well for the intimacy of these pieces – even though the sound of Enders’s Gagliano is a little loud for the proximity of the recording – and the lack of any reverberation beyond that of the instrument itself allows for an intense connection with the notes that would be absent had he chosen a church setting in which to record works he himself describes as ‘sacred’. You are left with the feeling that it doesn’t matter that he has done this so young – he’ll record them again and, hopefully, again. |
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