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15 of 16 people found the following review helpful:
5.0 out of 5 stars
This CD is wonderful! What a thrill!!, July 12, 2004
By A Customer
This review is from: Bach: Complete Lute Suites (Audio CD)
I've read that Sharon Isbin studied for 10 years with the greatest Bach scholar and keyboard artist of our time, Rosalyn Tureck, with whom she created and published the editions recorded in this CD. It's no wonder her Bach performances are so remarkable! Their collaborative editions are based on original manuscripts from Bach's time and follow closely the tradition of Baroque performance practices, including the composer's own embellishments with elaboration in repeats, a component astonishingly and neglectfully omitted in other guitar recordings! I can easily understand why this recording is rightfully acknowledged to be the landmark in the world of Bach performance on guitar. It reaches a depth and scholarship untouched by any previous guitar recording of Bach I've heard (and I've heard them all). I'd have to say Isbin's music bring Bach to life better than all the others. She portrays a brilliant synthesis of scholarship and heart, knowledge and expression, structure and nuance. This is the highest standard you'll hear. In addition to the amazing and creative ornamentation, I was very struck by Isbin's beautiful phrasing, striking timbral and dynamic contrasts, clarity of lines...breathtaking virtuosity. It is no surprise that this recording has received so many awards and is lauded in the world of Bach performance as a model. Once you hear Bach in the hands of Sharon Isbin, you'll never be satisfied by anything less. So here's my humble opinion: Run, don't walk, to get this one! The best 'test' is to use your own ears and hear Isbin's playing. I'm sure J.S. himself would heartily agree - Isbin takes Bach into the realm of the ethereal, where he and she both belong.
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11 of 14 people found the following review helpful:
5.0 out of 5 stars
Original, authentic and professional, November 30, 1999
By A Customer
This review is from: Bach: Complete Lute Suites (Audio CD)
This performance is unlike any other guitar rendition of the Bach Lute suites you will have heard before. Listening to the music you would be forgiven for thinking that you were back in the eighteenth century and listening to an original rendition by Bach himself. The most outstanding aspect of this recording is the performers interesting interpretation and implementation of ornamentation. I have had this recording for about 5 years - it is still my favourite and most often played cd.
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20 of 29 people found the following review helpful:
2.0 out of 5 stars
Not a favorite, but valuable nonetheless, June 6, 2004
This review is from: Bach: Complete Lute Suites (Audio CD)
First the disclaimers for my criticism: 1) Anyone capable of accurrately playing any arrangement all four of the Bach lute suites on guitar is an amazing musician. 2) This recording has an abundance of useful ideas regarding ornamentation for Bach, including some interesting techniques that were fairly uncommon at the time of this recording (those techniques are now standard practice). I also have the transcriptions for these performances and they are by far the most difficult to perform of any of the 3 editions I own. 3) Miss Isbin is an exciting player despite those who feel she is too mechanical. Listen to Journey to the Amazon, I think it's her best recording (despite some of the 'overdone' arrangements). Now for the criticism: This is the most laborious recording of the Lute Suites that I own (I own 6 versions). I listen to it at least a couple times a year, just hoping that maybe I'll hear something I didn't hear before... maybe it'll grow on me. The result is always the same. This disc bores me. The sonics of this recording are VERY POOR. You can hear everything ok, but there is no sweetness or presence. I don't think her instrument sounds that great either. If you are a fellow guitar player, it's a useful CD to own, I can attest that I've learned a few things from it, but I just don't enjoy listening to it. She's just too excessive. The tempos are also questionable. Some of the movements that you would expect to be too slow are very fast and some, like the Allemande from BMV 996 are way too slow. If JS Bach wanted it to be played like a Sarabande, he would have labeled it that way. It's like a gourmet dinner that looks beautiful in its preparation, but doesn't taste very good. I suggest the Goran Sollscher, John Williams (vol#1), Paul Galbraith, and Julian Bream (in that order) recordings before considering this account.
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