Johann Sebastian Bach (1685-1750)
Six Suites for Solo Cello
Henrik Dam Thomsen (cello)
rec. 2024, Garnisons Kirke, Copenhagen, Denmark
OUR Recordings 8.226922 [2 CDs: 134]
The past two decades have seen several excellent recordings from some of the most formidable cellists of our time. Of these, the offerings from Steven Isserlis on Hyperion (review) and David Watkin on Resonus (review) remain important touchstones for their expressivity and depth of insight. Performances on other instruments have also brought new perspectives, most notably the violinist Rachel Podger’s supple account on Channel Classics (review).
To my ears, this new performance of the cello suites is as close to perfect as any I have heard before, aided immeasurably by the acoustics of the Garnisons Kirke, which provided exceptional rendering throughout the instrument’s register. In the booklet, Thomsen explains that his decision to record there was informed by the unusual split-level, all wooden interior and large space, providing both natural warmth and clarity across the range and particularly in the upper register.
Thomsen’s instrument dates from just before Bach’s time – 1680 to be precise. But he uses a conventional bow and modern strings with the 442 Hz tuning used as the standard in the Danish National Symphony Orchestra, in which he holds the position of solo cellist.
This is a very melodious, satisfying performance which captures all the light and shade of Bach’s magnificent music, from the relatively light dances of the first suite to the emotional depths of the fifth. Like Isserlis, Thomsen rejects the typically favoured five-string set-up for the sixth suite, undaunted by the technical difficulties in playing music that Bach is thought to have written for an unspecified and unknown five-string instrument. It speaks to Thomsen’s exceptional virtuosity that he navigates the challenges seemingly without difficulty, and his performance of this suite is perhaps the most impressive and satisfying of all. Moreover, performing all the suites on the same instrument provides a more rewarding appreciation of the entire set than might have resulted from a switch of instrument in the final work.
Tempos are generally a little slower than other celebrated recordings in my collection, such as Casals (review), Anner Bylsma, Isserlis and Yo-Yo Ma (review), but close to that of Watkin. Certainly, there is no sense of rushing through, and timings feel well judged and appropriate to their formal structure. Within each suite, the sarabande provides the stretched emotional intensity at the heart of each suite, with the gavottes, menuets or bourrées providing stately elegance and relief before giving way to a gigue. At no point does Thomsen forget that these are ostensibly dances. The final gigue at the end of the sixth suite is life-affirming in its rich sonority and immensely uplifting. This music breathes and Thomsen understands very well the importance of the space between the notes. Take for example his slightly extended pause after the very first note in this final movement. Without it, the effect would be diminished. Such singular insight is heard throughout these performances and, for this reason – along with the superbly engineered sound quality – I consider it to be the pinnacle among recordings of these astonishing works. Readers will not be surprised that it is my recording of the year, by a considerable distance.
Peter Bright
Buying this recording via a link below generates revenue for MWI and helps us keep free access to the site
Contents
The Six Suites for Solo Cello
Suite No 1 in G major, BWV 1007 [17.38]
Suite No 2 in D minor, BWV 1008 [20.33]
Suite No 3 in C major, BWV 1009 [21.18]
Suite No 4 in E-flat major, BWV 1010 [23.53]
Suite No 5 in C minor, BWV 1011 [24.50]
Suite No 6 in D major, BWV 1012 [30.49]
