The Beijing-born guitarist Xuefei Yang has recorded her first album of baroque music, an all-Bach programme anchored by three concertos newly arranged for guitar and string quartet. Bach Concertos is an exciting, innovative album in which she has transcribed for the guitar some of Bach’s familiar violin concertos and other works, hoping to establish these new arrangements as noteworthy repertoire for the guitar and to expand the concerto repertoire for that instrument. Xuefei complements the concertante repertoire with solo guitar arrangements of the Violin Sonata No. 1 BWV 1001, the Prelude in C Major from the Well-Tempered Clavier BWV 846 and the Air on a G string from the Orchestral Suite in D major BWV 1068.
Over the last 20 years, the Naxos label has done a great deal to obtain its reputation as one of the leading classical guitar labels. Its very first guitarist was Gerald Garcia, who was not slow to show the way forward by extending the rather limited guitar repertoire by making arrangements of pieces originally written for other instruments. This is what he has done here, too: None of the music on this disc was written for guitar, it is all arranged by Garcia himself, who plays a modern guitar and definitely not a baroque instrument.
Tilman Hoppstock is one of Germany’s most famous guitar players and the work of Bach stands in his focus for a long time: His research of over 30 years culminated in the publication of two book titles and his musicological edition is considered today a standard work by nearly all guitarists who occupy themselves with Bach. In 2013 he earned the doctor’s degree for his research on Bach. The Six Suites for solo cello are nowadays performed on a wide range of instruments and Tilman Hoppstock has adapted the Suites Nos. 1, 2 and 5 for his instrument the guitar. His large knowledge of the contrapunctal technique of Bach combined with his stupendous virtuosity on the guitar resulted in a recording of great musicality and sensibility. © Christophorus
Although J.S. Bach's orchestral music has been transcribed for guitar ensemble before, notably selected Brandenburg Concertos by the De Falla Trio and the Los Angeles Guitar Quartet, this is the first recording of the four suites for orchestra that I have heard in a setting of this type; it is not a source of material that readily springs to mind for such treatment and certainly purists would decry such practices.
Recorded in 1987, this disc by Belgian conductor Philippe Herreweghe and the choral-instrumental ensemble La Chapelle Royale came in advance of most of the historical-performance recordings that have delved deeply into Bach's cantatas and their world. It was, in fact, the first digital recording of the Trauerode, BWV 198. Despite some competition, this remains an exemplary Bach performance, and it was a superb candidate for reissue in Harmonia Mundi's HM Gold greatest-hits series.
According to German theological tradition, which Bach knew very well, the alto voice was the very symbol of the Holy Ghost. Bach's three solo cantatas for alto demand enormous vocal virtuosity. Their extraordinary musical variety embraces sublime consolatory lullabies, a faithful echo of an organ concerto and the dramatic qualities of an oratorio. Andreas Scholl is the featured soloist in this reissue, backed by Philippe Herreweghe and the Collegium Vocale Gent.
As this lavishly boxed, four-CD distillation of his Pablo sessions proves, Joe Pass was probably the guitar-playing equivalent of Art Tatum on the Norman Granz roster – not only for his vast output, but also for the all-encompassing, almost orchestral way in which he got around his instrument. The set is divided equally into four sections – disc one for his astounding solo electric and acoustic guitar sides, disc two for studio recordings with various groups, disc three for various live recordings solo and with groups, disc four the delicate Ella Fitzgerald and other duo partner sessions and quartet pieces backing Sarah Vaughan…