Alisa Weilerstein has proved an exceptional cellist and distinguished musician, as shown by her collaborations with the Trondheim Soloists in Haydn and Schoenberg and with Daniel Barenboim in Elgar. Turning her attention to one of the cornerstones of the cello repertoire — Bach’s six suites, she brings a refreshing approach.
From the first notes of the First Suite’s Prelude, it becomes immediately obvious that this is the beginning of a well-considered journey. The Prelude is not what one may expect, and becomes the model upon which the whole recital is built. There is a freedom, spirit, yearning and spontaneity, her sense of how to play this music evolves, unfolds and flows. Articulation is gently executed with precision and care; dynamics contrast with subtlety and phrasing is as natural as her use of rubato. With such a range of manners in how to contrast music, it begs the question with so much ahead, has she peaked too soon? The following Allemande is thoughtfully paced and is characterized by further considered phrasing, enticing the listener in further. What becomes more evident here is the use of vibrato — controlled and used only to color the sound. The Courante takes a moment to find its feet before becoming a dance of delight. In a moment of reflection, the Sarabande is executed with complete command. Minuet I and II have a youthful glee and are uplifting, while the Gigue brings the suite to a conclusion with some unexpected turns, taking this sunny music momentarily into the shade, setting the scene for what is to come.
The Third Suite, coming next in the first CD, opens with a sense of recitative in the opening Prélude. Despite its monophonic writing, Weilerstein brings out the polyphony and relishes the grander moments. The character of the Allemande is very different, with detailed but unfussy articulation, while the Courante is spirited, but sufficiently restrained. The Sarabande unfolds beautifully with rich expression. As in the First Suite, Weilerstein knows how to create contrast, while the two Bourrées summon and release tension, creating a stepping stone on this pathway, leading naturally to the Gigue. Weilerstein relish of contrasts in textures and tonalities makes for an extraordinary ending.
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Believed to have been written for a “Cello Piccolo” or another form of a higher string instrument, The Sixth Suite is more demanding, of the player and listener alike, something which becomes obvious as Weilerstein’s well-considered but communicative approach develops. The characterful Gigue, which concludes many cellists complete cycles, feels like a comma here; a chance to breathe and reflect before taking the next step into the remaining three suites.
The second CD of the album programs suites 2, 4 and 5, the two minor suites bookending a major. Weilerstein continues with her expressive but authoritative style, but nothing becomes predictable or ordinary. There is always movement and contrasting innovation. Despite the fourth suite being in the major, there is darkness throughout which works well with the surrounding minor tonalities. She paces the 82 minutes with diligence, from the intensity of the Prelude in the Second Suite to the enigmatic Gigue of the Fifth Suite which concludes the entire album; Coming to the end of the second CD, it seems Weilerstein has carefully considered the path through these works, finding a magnitude of emotion.
Weilerstein’s contemporary approach is respectful of the Baroque origins but brings a highly expressive performance. Her intonation is a little sharp on occasions — most noticeably on stoped octaves, but is never unacceptable, while tone is consistently warm. The sound engineering from Pentatone is excellent throughout, setting this apart from many recordings available. Recorded in the Teldex Studios, Berlin in July and September 2019, the cello is sufficiently close without any noticeable noise from the fingerboard, which is a distraction of some recordings, including Stephen Isserlis’ otherwise highly regarded set. The booklet is adequately detailed and a pleasing read, but it’s the beauty of these nurtured interpretations that make Weilerstein’s recording a commendable and refreshing listen.
Bach – 6 Suites For Unaccompanied Cello
Alisa Weilerstein – Cello
Pentatone, CD PTC5186751
Bach Cello Suites – Recommended Comparisons
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