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Maurice Gendron recorded Bach's Cello Suites in 1964. The performances were reissued in 1979 and now reappear for a third time. Roger Fiske found Gendron's approach a sober one, by and large, whilst noting that his account of the Sixth and last Suite was dazzling. Gendron does not have the sheer exuberance of Tortelier (HMV—SLS107772-3, 11/83) and, I suppose, compared with his celebrated compatriot his playing has an air of sobriety; out that is not to say that Gendron's approach is, in any sense, lifeless. In fact his rhythmic vitality and well-defined articulation serve the interests of this largely dance-orientated music very well. Add to this a fine sound, admirably controlled bowing and largely reliable intonation and you have the basis of musically satisfying performances.
Gendron favours a more legato line than Tortelier whose lighter bowing and often more pointed articulation give the music an almost puckish character; yet I find Gendron's disinclination to over-interpret, preferring to let the music unfold unpretentiously, an attractive feature of this set. Sometimes he errs towards over-expansiveness as, for instance, in the Allemande of Suite No. 6 in D major, where his ponderous tempo seems too far removed from the spirit of an Allemande to be convincing. Sarabandes, on the other hand, come off well as for the most part do the Preludes. It is a shame that so many cellists seem unwilling to follow what we may assume to be Bach's own markings where they occur. I can think of only one or two recordings at the most where any real attention has been paid to the markings in Anna Magdalena's fair copy.
A pity, too, that the Sixth Suite is usually played on a four-stringed instrument rather than one with five strings. Bach wrote the piece for the latter and, whilst a modern instrument can accommodate the extraordinary virtuosity of the writing the extra string, tuned a fifth higher than the 'A' string of a standard cello, provides a more satisfactory means of exploring the highest register. Gendron does, however, observe the scordatura tuning which Bach requires for Suite No. 5 in C minor. Cellists are too often drawn towards modern editions which arrange the music for performance on instruments tuned in the standard fashion. In this instance the tuning down of the 'A' string by a whole tone to 'G' produces an altogether darker tone colour; and that, surely, is what Bach must have intended. Good recording sound and pressings, and some fine playing make this an attractive mid-price issue.
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