Musical discovery is
an endless odyssey, and even in previous
ports of call left fallow, one may discover
new delights.
The recorded music
catalogue contains more than fifty versions
of J.S. Bach’s six Suites for Solo Cello.
This does not include those who have
made multiple recording such as Paul
Tortelier and Mischa Maisky, or numerous
recordings of individual suites. In
this writer’s collection are more than
twelve different versions not to mention
arrangements for guitar and lute. The
Lute Suite BWV 995 is an arrangement
by J.S. Bach of the Suite No. 5.
A more recent addition
to this rather crowded catalogue is
Wen-Sinn Yang. Of Taiwanese descent
he was born in Bern, Switzerland. He
studied cello in Zurich with Claude
Starck, and in Berlin with Wolfgang
Boettcher. Master classes with Janos
Starker and David Geringas were later
additions to his musical education.
At age 24, Sinn Yang was engaged as
first principal solo cellist with the
Symphony Orchestra of Bavarian Radio.
The review package
comprises two DVDs, one for each of
three Suites plus a most informative
booklet incorporating an interview with
Sinn Yang by Richard Eckstein. As a
bonus there are two audio CDs of the
same music programme which, in my experience,
is a rarity in this type of presentation.
The venue for this
recording is the pilgrimage church of
St. Servatius set high on a ridge above
the Achental valley. It stands next
to an old bridle path near some ruined
stables - the remains of a property
that in the 12th century belonged to
the Counts of Kraiburg-Ortenburg. The
church has survived intact and may have
served as a private chapel. In both
acoustic and visual terms this is a
perfect recording venue for the programme.
Scenes from the life of the Virgin Mary,
the Passion of Christ and the Last Judgement
adorn the choir. In the nave we see
scenes from the lives of the Saints
and of salvation.
Having viewed the programme
one may readily conclude that Sinn Yang
interprets these works in specifically
Christian terms; the accompanying notes
quickly dispel that notion. He nonetheless
imbues them with a deep spirituality
that he felt appropriate to take advantage
of the inspiration offered by the location.
Exactly where the border between these
two interpretive considerations lies
is a matter of individual listener judgement.
To listen to the entire
cycle requires a significant time commitment:
in this instance approx.175 minutes
including performer’s dialogue at the
commencement of each suite. Despite
a long-time love affair with these works,
this review is the first occasion on
which I have listened to all Suites
consecutively in one sitting. I then
found myself repeating this marathon
event in the evening and until early
hours of the morning!
At the commencement
of each Suite, the performer provides
intriguing insight into the music both
from compositional and interpretive
perspectives.
In his book, ‘A Self-Portrait’,
the great French cellist Paul Tortelier
explains why, in the notes accompanying
his recording of these Suites he refrained
from providing personal imaginative
impressions of each Suite - such impressions
are for the performer rather than the
listener. He goes on to explain and
give examples of such interpretive impressions
including associations with elements
of nature e.g. streams, sunny conditions,
and mountains radiant and bright. He
also assigns specific colours to Suites
and movements within Suites.
In similar vein Wen-Sinn
Yang, at the commencement of the Second
Suite, provides imaginative impressions
and assigns colours. As illustration
the following three contrasting examples
are provided: First Suite: bright green;
delightful and awakening, a beginning
Spring in G major; Second Suite: dark
brown or dark blue; thoroughly contemplative,
brooding and philosophical; Fourth Suite:
ground colour of purple, or dark purple;
expresses something majestic, and inner
tranquillity.
For the non-cellist
probably the most illuminating information
is that provided at the commencement
of Suite No. 3. Sinn Yang explains that
unlike the Partitas and Sonatas for
Solo Violin, original scores for the
Cello Suites do not exists. Consequently
no definitive articulation marks are
available. These ideally would tell
the performer which notes are connected
and which should be played with separate
strokes of the bow; they are extremely
important for performance. In the recent
past cellists have tended to pay little
attention to the prescribed bowing,
playing in accordance with individual
taste.
There are no differentiations
of phrase marks so how do the notes
fit together? He proposes in the same
way as a spoken sentence. Regarding
articulation marks, how are the individual
words pronounced? Sinn Yang suggests
the analogy of being sung as contrasted
with spoken words. He provides several
illustrated examples on the cello from
the Prelude of Suite No. 3, played separately
or ‘spoken’ and then contrasted with
connected or ‘sung.’ The astute listener
who in the past may not have been unable
to articulate his preferences will now
immediately understand the key elements
of the various interpretations, and
the basis for his preference.
Prior to the commencement
of Suite No. 4, Sinn Yang ventures into
graphic imagery. He describes the beginning
of a tour through a large church. As
the music progresses through other keys
at a measured pace, so does the tour
through the church. The windows and
altar show stories or events from the
Old and New Testaments, possibly even
The Passion of Christ. As we proceed
the music becomes increasingly dramatic;
suddenly it stops on a low C sharp minor,
the altar is approached and Christ is
seen on the cross? The light confuses
and moves one deeply. This is made audible
in a stirring cadence by wide arpeggios
and continuous scales.
Looking back on the
church the same sight is seen as with
the beginning four measures. But we
also see or play these measures in a
different light; the experience has
changed us. This is the central aspect
of the music; not that it can have an
effect or cause a change of itself but
that it influences feelings and individuals.
This may not be for long, but for a
brief moment the music takes on a different
reality.
Wen-Sinn Yang’s playing
has been described as follows: ‘ He
plays technically at the highest level
with a lovely, full sound and impeccable
intonation. He phrases sensitively and
has the fullest grasp of the philosophical
dimensions of the music he plays.’ The
Cello Suites are an apt example that,
in every way, demonstrates the virtues
attributed to him. In relevant movements
he leans more towards articulation that
reflects a ‘spoken’ rather than a ‘sung’
interpretation thus providing a clearly
focused line more reminiscent of Mischa
Maisky than Anner Bylsma. To my ears
the latter’s executions sometimes sound
muddled.
At opportune moments
between phrases, elegant and artistic
gesticulations of the left hand reminds
one of those made by a ballerina or
flamenco dancer.
Having viewed the recording
of the Suites for Solo Cello which Rostropovich
first recorded as a total cycle in 1990
when he was 63, I was reminded of how
technically difficult and physically
challenging the cello can be. In contrast,
and while a much younger man, Sinn Yang’s
playing gave the impression that a magician
was executing illusions with consummate
ease.
No review of this performance
would be complete without reference
to the delightful sound quality provided
separately on CD or as an integral part
of the DVDs.
This is probably a
combination of engineering excellence,
venue, and performer’s technique and
last but not least, a fine instrument.
For this recording a cello by the violinmaker
Teckler (1666-1747) was used. Born in
Füssen, Teckler completed his apprenticeship
in Venice and ultimately became one
of Rome’s leading luthiers. The instrument
used here bears the date 1720, making
it contemporary with the composition
of the Cello Suites.
This particular cello
exhibits a beautifully balanced mid-range/treble
with power and sustain. The robust and
resonant bass can, on occasion, be felt
in the diaphragm. Overall the audio
section of this presentation is a sonic
delight.
Witnessing creative
genius, supreme musicality, and the
intriguing liaison between anatomy and
physiology required for such amazing
digital dexterity leaves one, irrespective
of spiritual disposition, with an impression
that all this did not happen by mere
chance and that higher forces are at
play. It may be that J.S. Bach, the
great musical proselytiser had, as part
of his objective, expression of this
very point when he composed these masterpieces:
magnificent music, didactic endeavour
and a testimony of his Creator?
Only physical presence
could transcend the musical epiphany
bestowed by this superb presentation.
Zane Turner
for
details
Wen-Sinn Yang. (cello) 
ARTHAUS
MUSIK 101 419 [2 DVDs: 76:49 + 96:54] 
