![]() ![]() ![]() In 1999, I ran into O'Dette in a record store. It appears I'm not the only one who feels that way, either. I couldn't bring myself to fork over C$125 for the box, although the performance's attractions are such that I seriously considered doing so.) Tuneful, joyful, undemanding yet rewarding close attention, beautifully recorded in a Swiss church (with birds occasionally joining in), the disk seemed to cast a sunny glow whenever it was played. #Bach bwv 1001 presto guitar pdf of the show seriesWhen is EMI going to get around to reissuing Paul O'Dette and Smith's Italian Lute Duets in an affordable CD format? (It was included in one of the 5-CD volumes of the complete Reflexe series issued by German EMI a couple of years ago. Has anyone here heard Smith's recording of the cello suites? Impressions? In so doing, he recognized the necessity of a sounding harmony, such as in compositions of his type he could not fully achieve'." Are there any worthy recordings of the S&Ps played on a clavichord? In his liner note Smith mentions that "Bach's student Johann Friedrich Reichardt in writing about the six suites for unaccompanied violin states that 'their composer often played them on the clavichord, adding as much in the nature of harmony as he found necessary. And I suspect that forced to choose a single set of the S&Ps to take with me to a desert island, this insightful performance would be it. While I'm not about to stop listening to Kuijken and van Dael in these works, Smith's recording is certain to be one I reach for often, especially when a version less austere and more beguiling than the original appeals. My only complaint is the price: C$63 (including sales taxes) for two disks. ![]() Need I mention that Smith's virtuosity - never mere show, always at the service of the music - is equally breath-taking? To all these felicities, add a gorgeous 13-course baroque lute (Joel van Lennep, Boston, 1980), a short but informative liner-note apologia by the performer and flawless engineering by Astrée and you have a winner. Of course, there are times when Smith uses the lute's unbowed sound to great effect - for example, in some of the variations of BWV 1004's famous Chaconne, where "strumming" and plucking generate tremendous rhythmic drive in the Double of BWV 1002, where sharp chords mark sections and clarify the movement's structure and at innumerable places throughout the set where the harp-like delicacy of the ornaments and "accompaniments" takes the breath away. Any prior doubts about the lute's "pointillism" not being suited to the sometimes sustained lines of the original quickly evaporated, a development probably due to the brillance of the arrangements and the fact that, unlike a violinist, Smith can let a string resonate while he plays others. On the contrary, the performance brings out facets of the music I'd never heard before, including voices the violin version only hints at. Although the music has been entirely rethought in terms of the instrument, the many added notes (mostly filled-out harmonies and ornamentation) and occasionally fast tempos are never detrimental to its expression. The arrangements - Smith's own except for BWV 1006, which is closely based on Bach's - are superb. Have listened to it three times now and my reaction, stronger each time around, is simply wow. Review: Sonatas & Partitas for Violin performed on Lute by Hopkinson Smith Ģ-CD: | | .uk | .uk | Ĭraig Schweickert wrote (March 10, 2002):Īfter reading Brad's recommendation of Hopkinson Smith's recording of the lute versions of the sonatas and partitas for solo violin - a disk I'd had my eye on for a while - I picked up a copy yesterday (Astrée Naïve E 8678). Hopkinson Smith (13-course Baroque Lute by Joël van Lennep, Boston 1980) Sonatas & Partitas for solo violin BWV 1001-1006, arranged for Baroque Lute by Hopkinson Smith Hopkinson Smith’s Sonatas & Partitas (BWV 1001-1006) Sonatas & Partitas for Solo Violin BWV 1001-1006 ![]() Recordings, Reviews & Discussions - Main Page ![]()
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