William Yeoman finds Bach’s music shining brightly whether played on guitars, recorder, accordion or a Cretan lyra.
Every arrangement of one of – JS Bach’s works expresses, as does every performance of it — and what is a performance, if not a kind of arrangement? — a hitherto hidden aspect of the work’s character, whether subtle or strong. That’s one thing the following recent recordings, of arrangements and transcriptions of Bach’s music for diverse instruments, have in common.
The second volume in the Montenegrin Guitar Duo‘s complete English Suites is every bit as good as the first, with Goran Krivokapi6 and Danijel Cerovie divvying up the left- and right-hand keyboard parts of the Suites Nos 4-6 while allowing for frequent swapping of parts.
The precision of ensemble, the clarity of articulation, the rhythmic vitality and the exuberant ornamentation recall the Bach-playing of Presti and Lagoya and the Assad Brothers, while adopting a more subtle approach to those changes in timbre and colours so idiomatic to the classical guitar.