Bloch took to his adopted homeland with enthusiasm and it embraced
the composer in turn. I have already written about the Rhapsody
- America in a recording on Naxos. Another part
of the North American response has come from the generosity of
John C. Gilbert Ph.D., his father Herschel Burke Gilbert and their
California-based Laurel Records label. Laurel have recorded all
the string quartets and much else including the still rarely encountered
Concerto Symphonique and the Violin Concerto. This disc
is the latest volume to appear.
The Méditation
Hébraïque was written as homage to Casals as a ‘thank
you’ for Casals’ performances of the Bach suites which Bloch
loved. It is typically soulful, with an exotic strain and
a brief and jaggedly defiant piano fanfare similar in shape
to the brassy fanfares in the Violin Concerto. The three episodes
From Jewish Life are Prayer, Supplication
and Jewish Dance. Prayer pleads eloquently.
Supplication runs forward eagerly yet deferentially
modest. The last movement is a rather stiff-legged dance which,
like Prayer, makes use of quarter-tones to add an exotic
oriental edge.
After these two
pieces for cello and piano we turn to three suites for unaccompanied
cello. These were written in quick succession in the composer’s
final years. Suites 1 and 2 were written for Zara Nelsova
at her urging. Nelsova recently enjoyed a Decca Collectors’
Edition. She premiered Bloch’s Voice in the Wilderness
for cello and orchestra. As you can see from the timing,
the suites are compact. When you hear them you will realise
that they are succinct in expression. Approaching death clearly
concentrated the message. In Suite No. 1 there is a gloomy
or soulful Prelude, a flight Bachian Allegro,
a concentrated Canzona played high in the register
and sounding almost like a viola and finally an optimistic
Allegro which is thunderous in its triumph. The Second
Suite is the longest of the three. A serious Prelude is
followed by a dramatic and determined rosiny Allegro,
a rounded Andante tranquillo and at last an angular
Allegro lit up with struggle and conflict. It ends
with an optimistic ascending gesture that slips slowly into
niente. The final Cello Suite has a grippingly heroic
Allegro deciso, a meditative Andante, a strugglingly
energetic Allegro, another Andante – this time
more sorrowful than meditative and then a finale marked Allegro
giocoso but which rings out here as more eroico serioso
than giocoso.
The recording
which was proudly made on analogue tape is gripping and of
almost forbidding immediacy and impact.
The useful notes
are by John Erling.
These performances
are uniformly magnificent with Parry Karp giving every sign of
having learnt and known these suites from the inside. The playing
of Frances Reiche Karp in the first two pieces projects equal
commitment and communicative passion.
Rob Barnett
AVAILABILITY
Laurel
Records
Parry Karp (cello)
