Bach, J.S.: Cello Suites Nos. 1-6, Bwv 1007-1012 (Johann Sebastian Bach)

Chronique

With no shortage of recordings of the monumental Six Solo Cello Suites of J.S. Bach, new installments of the literature cornerstones are understandably met with some reluctance and skepticism. What can this new recording offer that has not been done countless times before? For one, no other album in memory features the dash of a Dodge Viper on its cover (which seems to be there for no other rational reason other than cellist Andrés Díaz's proclivity for sports cars). The liner notes regrettably focus more on anecdotes about snow, freezing temperatures, and food rather than giving listeners any information regarding Díaz's decisions in his performance of the suites. Still, Díaz does offer listeners a great deal when it comes to the actual playing. His goal to maintain the dance structure of each movement is, for the most part, met quite nicely. There are occasional moments when bass notes are elongated more than might be necessary, but this is usually done tastefully. His tone is robust and powerful, intonation is refreshingly solid save for a few difficult moments in the Sixth Suite, and vibrato is used more as a warming ornament than a constant presence. The first disc, which features the first three suites in order, produces nothing out of the ordinary with respect to tempo or interpretation. Díaz steps outside the box on the second disc, with a lightning fast (many will think far too fast) Fourth Suite Gigue and a rather uncharacteristically spritely Fifth Suite Sarabande. Apart from these departures, though, Díaz gives first-time listeners to the suites exactly what they need: an uncluttered, straightforward but musically solid performance. Is this album one that collectors who already have five or six recordings of the suites should run out and buy? Probably not. Is it an appropriate choice for those buying their first? Absolutely.
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