Fanfare 4. Review

5 stars: A brilliantly executed and highly creative performance of six iconic works for solo cello

BACH Suites for solo Cello: No. 1 in G BWV 1007; No. 2 in d BWV 1008; No. 3 in C BWV 1009; No. 4 in E BWV 1010; No. 5 in c BWV 1011; No. 6 in D BWV 1012.  Henrik Dam Thomsen (vc)  OUR 8.226921 (2 discs: 133:53)

As has been written about in numerous reviews, the six suites for solo violoncello (BWV 1007-1012) are about as iconic a set of pieces as any that were composed by Johann Sebastian Bach. In the last issue, I reviewed the recording by Eric Kutz, who produced a keenly astute performance of these works, which have to be equated to the cellists’ musical Parnassus in so far as music for this instrument is concerned. There are so many recordings of these works out there, that one has to wonder if there is room for another, and yet here we have an intensely personal recording by cellist Henrik Dam Thomsen, who interprets them in a different manner entirely. As has often been noted, all six of them conform to the conventional Baroque suite in so far as their format is concerned; pairs of slow (or slower) stylized dances interspersed between faster one, all prefaced by an improvisatory-style prelude. Thomsen, right off the bat, notes in his thoughtful and excellently written booklet notes that he discerns a “prominence” of folk music elements within the dances, something that I don’t remember anyone else making a point about. Moreover, the intensity of his in-depth study of the works after many years of conventional performance gives his views expressed a certain intimacy for him.
The proof is of course in the recording itself. A couple of examples will show how his approach to these work. The Prelude to the first suite with its sequenced arpeggiated motives is done with an emphasis upon the implied static bass line, against which the upper portions of the sequence balance perfectly, and following a descending cascade line, the spinning out of the shortened motives creates a tension that is relieved by the soft final chord. In the Allemande of the second suite, the growing double stops add a foundation to the meandering and dramatic main theme. Here Thomsen adds a bit of flexibility in the structure to bring out this aspect, even as it hints at the dance behind the movement. The flurry of the Courante in the third suite is done at a rather fast pace that outlines the “running” motion of the main theme, as if the cello itself is flying about in a confused manner, a sort of frenetic energy that is precisely what this movement requires. In the Sarabande of the fourth suite, the lyrical line with its chordal interjections as accompaniment gives a thoughtful and languid outline, even to the dangling trill at the end of the sections. There is even a hint of a Siciliano in the emphasis upon the halting dotted rhythms, which adds to the dance flavor. The Gavotte of the fifth suite jumps about in the leaping melodic line, with a pointed set of accompaniment chords outlining the harmony. Bach, I believe, meant for this to be sort of a parody of the French style, as the theme is defiant and a bit ponderous. The Bourées of the fourth suite are more delicate, even a bit trippy, with the motivic theme being lightly touched upon with a soft brush. In the Gavottes of the sixth suite, Thomsen marks these out with clear definition of the motivic dance themes, but in the Gigue that follows the emphasis of the horn fifths moves into the realm of a peasant dance, with scurrying flourishes that change the underlying harmony, and there is a hint of a ostinato bass that Thomsen rightly calls sort of a “hurdy-gurdy.”
Hearing these, one can appreciate the interpretive artistry that Thomsen brings to these suites. Here, the various twists and turns of the subtle (and sometimes not so subtle) nuances emerge, giving a new life to the oft-recorded works. His tone is resonant and deep, while he balances this out with light and airy upper register flourishes. In our jaded world of the performances of these iconic works, Thomsen’s recording stands apart for its sensitivity, its creativity in Bach interpretation, and its vibrancy. If you are interested in another recording of these works, this is the one to have, and if you don’t have one in your collection just yet, this comes with my highest recommendation. Bertil van Boer