Customer Reviews

Bach: The Six Sonatas and Partitas

5 star:		(23)
4 star:		(2)
3 star:		(4)
2 star:		(3)
1 star:		(1)

 

 

This album is, indeed, a must for Bach fans. Unlike other reviewers, I do not find it "easy listening", on the contrary. Especially if you know the violin pieces well, this recording will blow you away (or at least keep you wide awake at night). The reason is the dazzling lucidity of Galbraith's playing. Sure, on one (superficial) level, the emotional depth seems to be toned down. However, on a different (deeper) level, it's the opposite: by keeping the range of his speed and volume limited, Galbraith achieves a density and concentration I have never heard before in Bach's partitas. He practically forces you to put down the book that you might be reading at the same time, and to listen carefully. What a happy combination of technical brilliance and musical understanding of Bach's work.

I fell in love with Bach's music many years ago, and as a player of classical guitar I have had the pleasure of enjoying the great recordings of Bream, Segovia, Yepes, etc. I haven't been actively keeping up in this area of late, but a review of the Galbraith recordings of the Bach Violin Sonatas and Partitas came to my attention, and I decided to jump back in. I feel fortunate that I did! I never thought my interest could be rekindled like this. Galbraith's interpretations of these pieces is deeply reverent of the music. Galbraith doesn't try to showcase his playing. Rather, he has clearly dedicated himself to understanding the music, and playing exquisitely detailed and unhurried performances that let the music speak for itself. For those of you who are new to this music, the Chaconne from the 2nd Partita is one of the crowning monuments of any music by any composer of any time. Each time I listen, I marvel at how much emotion comes from this profound and spare piece of music. As Galbraith says in the liner notes, this piece is "fathomless" in it's depth. Galbraith's slower-than-typical pace, and his reverent attention to each note and musical line is wholly up to the inspiration this piece demands. The performance is heart stopping. It brings me to tears each time I listen, and I have to remember to start breathing again when it's over. I think that both people familiar with this music and people new to it can find great enjoyment in these performances. END

I probably have 100 or so classical guitar recordings, and this one stands out from the others as boldly as the Segovia recordings, but for a totally different reason. The unique sound of the instrument, perfect playing, and lack of normal string noise took me quite by surprise. Very highly recommended.

This is the first time I have heard all of this violin music by Bach played on the guitar. The playing is technically flawless, but cut and snip editing could play a role in this. Galbraith plays these works without the usual breaks between sections. He holds his customized guitar like a cello. My main disappointment is with the chaconne section, the centerpiece of this work. Galbraith plays it throughout at a numbingly slow tempo, thus providing no variety or pacing. Other guitarists alternate slow and fast tempi within this masterful movement. Galbraith shows in other sections that he can play with dazzling speed when he wants. Other guitarists also provide more variety of color than Galbraith, who relies exclusively on a sweet, soft tone. Despite these reservations, this set is a must-have for fans of Bach and of classical guitar.

I have been listening to the sonatas & partitas for solo violin since the early 70's when I purchased a budget 3 record set of Szeryng's violin performances. After 25+ years of intense listening to a variety of artists performing this work on violin and guitar I am still often moved to tears by the power and beauty of the compositions. Galbraith's performances convey an almost complete absence of ego. There is nothing flashy or explosive about this recording. He delivers transcriptions for the guitar and execution that conveys the most extreme reverence for the music. In spite of his restraint there is nothing dull or flat about the recordings however. He performs on a bizarre 8-string guitar that he has helped develop which utilizes a sound box between his feet connected to the guitar by a metal rod. This guitar sounds gorgeous. The combination of Galbraith's approach and the richness of sound elevates the overall effect to almost unbearable transcendent beauty. This recording should provide a lifetime of enjoyment to anyone who has a deep appreciation and love for music.

Paul Galbraith plays these beautiful, transcendant works of art so convincingly. The articulation is sublime, and the music emerges with unbelievable clarity. His crisp, perfect technique is enhanced further by the two extra strings on his guitar and the soundbox upon which it is played. There is very big sound here without sacrificing the separation of voices in the music. It just surrounds you--a three dimensional experience. Not even one buzzed or blurred note appears. He reminds me of Glenn Gould. They both use rhythmic precision to accentuate the structure of the music, and it is never tampered with. No schmaltz here at all. To call this "Bach lite" is blasphemous. If you like the way Segovia romanticized (or mutilated) Bach, then yes, pass on this CD. [If one finds the Chaconne too slow, Manuel Barrueco offers the best alternative--another flawless, perfectly articulated interpretation with gorgeous tone]. Paul Galbraith is one of the best ever, and his style is immediately recognizable (again like Gould). In this landmark recording, he accomplishes something that no other guitarist ever has. He overcomes the limitations of the guitar and offers pure Bach. It is the music itself that shines here. It sparkles like a diamond. It is so beautiful.

Paul Galbraith's performances of Bach's violin works leave nothing to be desired. In particular, his transcriptions retain much more of the intricate detail than is typically found in guitar arrangements. His custom-built instrument, an eight-string guitar played upright like a cello, has a warm and inviting sound (almost lute-like), with a signifcantly expanded range at each end of the register. Much like the old piano recordings of Glenn Gould, Galbraith is "mic'd" up-close, for an intimate listening experience (you can hear the performer breathing). Highly recommended!

I am not a music critic, nor am I an expert on Bach. My only credential for commenting on this album is that I have played classical guitar, albeit at an amateur level, for over forty years. Since I spend a great deal of time reading and writing, I'm always pleased to find a purely instrumental album that can tweak my creative neurons without intruding to the extent of redirecting my thoughts (unlike Beethoven or some of JS Bach's heavier compositions).

This album is simply lovely. Galbraith's artistry is remarkable. Add to this the surprising richness of his custom 8-string guitar (one above and one below the usual six strings), which extends the bass range beyond that of a 6-string guitar, and allows him to play higher notes closer to the end of the neck, increasing the resonance. The result, like that of Rachmaninov's oversized hands on the piano, generates a freshness that is not possible on a 6-string guitar.

Although I've heard a couple of short extracts from this composition performed by other guitarists, I have to confess that I was generally unaware of the complete work until stumbling into this album. Listening to all 32 tracks played in succession is a delight.

I would of course recommend this to those who love classical music. Beyond that, I think most listeners of "New Age" music would find this comfortable and vaguely familiar. As an introduction to classical music in general, and to JS Bach specifically, it would be hard to find a recording with a less bombastic baroque flavor.

As a professional classical guitarist, I can tell you that to play Bach on the guitar is a tremendous but worthwhile challenge. After hearing this recording, I am convinced that Galbraith presents THE definitive interpretation of Bach's Sonatas and Partitas, not only for guitarists, but for all performers and/or admires of these great works of art. As for the person who rated this recording with only 3 stars, I would suggest repeated in-depth listenings of these two CD's and a thorough study of these pieces. Not only is Galbraith's playing beyond technique and interpretation, but he creates a seemingly effortless musicality which is unfortunately not characteristic of most performances of the Sonatas and Partitas.

I'll add my voice to the chorus praising this recording. Between Paul Galbraith's technical mastery of the works and the extended compass of his eight-string guitar, magic occurs. This recording unlike most classical guitar recordings save his later recording of the Bach Lute Suites, which is also quite amazing. The added high notes and (more importantly) the additional low notes bring a depth and richness to the music which is somewhat lacking in standard classical guitar, sans scordatura.

If you like this recording, check out Elliot Gibbons' Mysterious Barricades, recorded on a 13-string 'archguitar.' He also plays Bach, as well as works by Couperin, Sanz, and de Visee, and the extended compass of the instrument allows for a very rich experience, with wonderful basses providing structural oak under Bach's lovely melodies.