Johann Sebastian Bach (1685-1750)
The Cello Suites BWV 1007-1012
Eliot Fisk (guitar)
rec. 2022, Gordan Hall, Watertown, USA
IBS Classical IBS42026 [130]
The Bach Suites BWV 1007-1012, are the absolute treasures of the repertory for solo cello. Written sometime in the period 1716-23, they remained in fallow until resurrected by Pablo Casals in the early 20th century. The quality of the music has subsequently gained the attention of every major cellist, who has either recorded part, or all of the Six Suites, some multiple times. There are no extant autograph manuscripts, and those that exist offer little, or non-specific intelligence in terms of tempi, embellishment and slurring of notes. We thus experience additional varieties of interpretations from those who play and record this music.
It is not only cellists who have been inspired by this music, but also violinists, bassists and classical guitarists. Short on quality repertory, Segovia turned to this music and transcribed his favourites movements of the various Suites. In concert and recordings, he initially played only single movements. John Williams was the first to record an entire Suite, an initiative which Segovia promptly replicated.
Guitarist Eliot Fisk is no stranger to this forum, where several of his past recordings have been reviewed. He occupies a prominent position in the world of the guitar, a significant part of which may be attributed to Andrés Segovia, who was both his tutor and mentor. The Maestro was quite vocal in his rather effusive endorsement of Fisk. On one particular occasion, Segovia headed a group of competition judges who disagreed with him that Fisk should be awarded first place in the competition. It is reported that later Fisk, unplaced, threw his participation acknowledgement trophy into a local moat. However, it was not just vocal support that Segovia provided. Around 1977, Fisk released a limited edition recording of J.S. Bach and Domenico Scarlatti on the Mark Levinson label. Contained therein, and dated Feb 22, 1977, is his endorsement in writing, in which Segovia refers to Fisk being ‘an outstanding artist of technical integrity and pure musical expressiveness’. It must have been this that gave Fisk the recording gig, because the playing did not. Bach’s BWV 1006, transcribed by Fisk, is the worst that I have heard on recordings. This is not helped by an instrument that has poor balance with a top-heavy bass. The Gigue, of faster tempo, follows the same muddled execution that persists in his later recordings
The review discs presents Fisk playing his own transcriptions of the Six Suites for Unaccompanied Cello. The task of arranging these works, and recording them warrants recognition and praise, but that is where the accolade must end.
Fisk’s approach to playing the guitar is one of attack, one which is incongruous with the nature and intrinsic qualities of this beautiful instrument. In reviewing his performance over the entire Suites, it is readily discernible that when the music is of a slow tempo, he has a fighting chance of accurately representing what is written in the score. When the tempo increases all is lost, and he joins the ‘Bach derby,’ Speed supplants all the vital components of the music. A prime example is the Prelude from Suite No. IV. The initial tempo is slow, and the execution reasonable. Later the score demands execution of fast, single note passages. Here, these are executed poorly: an amorphous torrent of notes played without regard to clarity or phrasing. In the Gavottes from Suite VI, we are given a serving of notes with the musicality removed from the menu. A similar pattern to these examples is generally repeated throughout the entire performances.
Technically, Fisk (b.1954) plays with a harsh, naily tone, exacerbated by persistent playing close to the bridge, and without the shading we hear in performances like those of Julian Bream. He is the child of an era when the concert guitar was in its infancy, and generally the instrument did not attract the talent that it does today, in amazing abundance. One must remain circumspect regarding the endorsement by Segovia when his same enthusiastic preoccupation settled on the shoulders of the outstanding Christopher Parkening (b.1947), who justifiably earned every praise and recognition bestowed upon him by the Maestro. Parkening’s credentials in the execution of Bach’s music can readily be assessed on his 1968 recording (Angel S-36019). Among those who attended the Segovia master classes it quickly became apparent that individuals who played like Segovia, or imitated his style, often received the most recognition and praise. This Fisk perfected, and along the way produced a DVD entitled, The Segovia Style wherein he analyses the Maestro’s playing style, and provides ways in which that can be replicated.
There are alternative recordings of this wonderful music by guitarists who offer performances of a superior standard. One of the best all-round recordings, which is hard to beat, is by the highly musical Canadian player, Jeffrey McFadden. The performances of his own arrangements can he heard on Naxos 8.573625 and 8.573626.
While the guitar may not possess the sustain or sonority of the cello, its ability to produce legato and fluid arpeggios is superior to the bow. The musical journey into execution of these works on the classical guitar can be of great pleasure, enjoyment and, in the right hands, quite revelatory. The fact that Bach arranged Suite V for lute may have been a harbinger for subsequent generations of guitar players. Invest in the performances of Jeffrey McFadden and be an heir to that experience.
Zane Turner
Other review by Ralph Moore.
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