B2C: Bach to Choir (CD review)

Suites for Solo Cello Nos. 1 & 3, with choir. Sophie Webber, cello; Members of the Choir of the Ascension, Chicago. Sheringham Records.

Sophie Webber is a British cellist now residing in San Diego, California. She recorded her debut album of the Bach Cello Suites in 2018 and titled it "Escape." Now, for something slightly different, Ms. Webber presents an unusual view of the suites, this time for cello and accompanying choir. On the present disc, she plays Suites 1 and 3 with choral arrangements of her own design. Given that every cellist who has ever lived during the age of recordings has already made an album of the Bach suites, including Ms. Webber herself, the novelty (and beauty) of offering them with vocal augmentation seems inspired. The results are lovely.

The exact dates Bach wrote the suites is unclear, but it was probably somewhere between 1717-23. One thing that is certain, though, is that the suites are extraordinary, and they might well be familiar even to listeners not acquainted with much of the composer's music. After all, most of us have heard this material, especially the first suite, used in films and television commercials; I mean, even Bach reused some of the tunes for other instrumental works.

Anyhow, the suites each contain six dance movements, and one of the remarkable things about them is the composer's ability to make the single cello sound like several instruments, with melody and accompaniment. Only this time out, Ms. Webber's cello really IS accompanied by other instruments, namely human voices in the persons of eight members of the Choir of the Ascension, Chicago. Together, they "make a joyful noise" (Psalm 100).

As Ms. Webber puts it, "The vision of this album is to offer an interpretation of the Suites which highlights the implied harmonies and rhythmic characters of Bach's solo string works and potentially invites new listeners into the world of Bach and classical music."

Sophie Webber
First up is the familiar Suite No. 1 in G, BWV 1007. At first the wordless choral accompaniment seems obvious to the ear, pleasant and pronounced. After a few moments, however, one becomes used to it, perhaps even finding it normal. Ms. Webber was keen enough not to make the voices too obtrusive, and they aren't. They complement the cello well and project a tranquil, spirited, soothing, or exuberant enhancement to Bach's music as the case may be.

Ms. Webber's playing is gentle, fluid, and expressive, nicely integrating with the choir. Her performances are happy and invigorating and bring out all the joy in the music. She has no doubt been playing these suites for some time and knows them backwards. The fact that she has devoted her first two albums to the suites attests to this fact. The chorus adds to Bach's many moods, and Ms. Webber's performance brings out the nuances in the various movements.

Then we have the slightly less familiar but still popular Suite No. 3 in C, BWV 1009. While purists may look down upon messing with Bach's creations, it seems to me entirely felicitous that Ms. Webber should provide us with yet another fine set of accompaniments to Bach's solo suites. It's not like it hasn't been done any number of times before, with piano, viola, etc., and with transcriptions for violin, guitar, trumpet, organ, and practically every other instrument in the band. Bach himself frequently borrowed his own material and reworked it for other instruments in later compositions. Besides which, Bach often alternated writing secular and sacred music, and since the suites are quite worldly in nature, the choral background invests them with an almost religious tone despite their lively presentation. It's kind of the best of two worlds.

My one quibble may seem petty and is maybe a backhanded compliment: The disc contains only about forty-two minutes of music, with plenty of space left over for another of the suites. The fact is, though, this album is so entertaining, you may find it over before you know it.

Producers Paul French and James Kallembach and engineer Christopher Willis recorded the music at Guarneri Hall & Bon Chapel, Chicago, Illinois in September and November 2019. The sound places the cello squarely in the middle of the ensemble. Although the singers don't always seem entirely of a piece with the soloist, they do evoke an appropriately resonant, ethereal presence. Clarity, articulation, and detailing are well presented, too, so the whole makes pleasant listening.

JJP

To listen to a brief excerpt from this album, click below:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa