"When I got this CD, my wife remarked, not without some justice,
"Oooo! More Bach cello. Just what you needed." Well...yeah. There are more first-rate classical musicians in the world today than Bach would have believed possible. And more of them are being recorded than ever before and if that isn't just one of the neatest things about being alive today then I'm a Dutchman. And if getting even a mediocre recording of the cello suites at Naxos prices isn't one of the other neatest things then I'm Dutchman 2, The Sequel. And this, my friends is no mediocre recording. No, no and no.
In reading, as I do, the other reviews on the Amazon website, it appears to me that the most grievous sin in Bach cello performances is nasty old "rubato". An awful lot of folks get their knickers in disarray over it's appearance. My guess is they don't like surprises. I figure a man or woman puts in the years of dedication and dicipline it takes to master an instrument as difficult as the cello; puts in the time to learn a score...learn it so well that they don't even have to think about it but can just make music; well I figure that man or woman has earned his or her rubato. Be warned. Ms. Kliegel uses rubato. And, boy oh boy, does she make music.
I know, Casals blah blah, Fournier blah blah, Schiff blah, Rostropovich blah, Maisky bl...etc. I have them all and they are each uniquely splendid. And everybody knows it. As Dogberry says to his deputy, "Comparisons are odorous, Master Verges." But if you must compare this performance, I guess you can hold it next to Gendron as she's using his Stradivarius. And ladies and gentlemen, the SOUND!
I bought this CD on spec, never having heard of Maria Kliegel, because it was cheaper than a movie ticket and a box of popcorn and because I want to encourage the recording of Bach. Having heard it, I would gladly have spent four times as much. I just wish they had some of those Media Player previews so you could hear some of it yourself rather than have to rely on the opinion of some stranger. (My wife says they don't come much stranger and she knows me intimately.)"
Kliegel pulls it all together...Bach with Character
Noel Jones, AAGO | US | 12/12/2005
(5 out of 5 stars)
"In my VW Beetle CD changer, I stuffed the Ma, the Wispelwey and Kliegel CD's of the Bach Suites and hit the road for a 5 hour commute (round-trip) to Atlanta. I had just purchased the Kliegel because of price AND the way she plays the Chopin Sonata.
The Ma I have always liked a lot, while one of my cello teachers had introduced me to Wispelwey. I have other recordings, some historically accurate, and some just hysterical. Of all the Wispelwey seemed to me much more "Bachish", and I still enjoyed the Ma.
During the trip I found myself punching up one version and another over and over again.
What really confused me is that I could always tell when it was Ma...beautiful tone...but the Kliegel and Wispelwey were sort of similar, without being alike.
Finally discovered that, to me, the Kliegel was more musical, without losing the baroque bowing traditions. Character. Now I really want to hear her in person."
I love every second of it !
Vlanes | Australia | 03/03/2006
(5 out of 5 stars)
"There is genius in this recording. I think it is a masterpiece. The sound is impeccable, round, alive. It is as if the music is speaking to you directly, being born right in front of you. Magnificent."
Well what have we here?
Ren Hoek | Sherrard, IL USA | 02/26/2006
(5 out of 5 stars)
"I bought this on a whim and because I wanted the cello suites on a single release without spending an arm and a leg. Wow, what a great performance. Maria Kliegel is excellent on this, as is the quality of sound. A great cellist, great Bach, great CD set. This is worth every penny and then some."
Here comes the dissenting review...
John Grabowski | USA | 07/27/2008
(3 out of 5 stars)
"After being impressed by Kliegel's Haydn and Shostakovich and Koldaly, I eagerly snapped up this recording. It might make a good low-budget introduction to the works, but I find it can't compare to Rostropovich, Byslma, Tortelier, Starker, and Casals, off the top of my head. I exclude Ma because I find him generally boring as well, and I'm not through evaluating Kirshbaum and Haimovitz because I haven't finished really listening to them yet. Apparently a lot of other people rating this CD highly have also heard some terrific recordings, but I can't understand how they rank these rather pedestrian interpretations with them. For the record, I'm not a purist, don't care about vibrato vs. non-vibrato. I just want a performance with a strong sense of identity. I don't get that here. What I hear is akin to a very talented cello student giving these a performance in their first recital--playing all the notes and playing them beautifully, but not saying anything in the works. Even though I sometimes disagree with Byslma, for example, or find him puzzling, I respect his artistic integrity for interpretations that I have no doubt are deeply-thought out. I don't get that deep thinking here. In a super-crowded field, I can't justify this one on my limited shelf, because I know when I have a choice between it and the others I mentioned, the others will always win. So away it goes!