Vidovic, playing the Lute Suite in E (BWV 1006a), matched Mr. Vieaux gave the Prelude, Fugue and Allegro (BWV 998) a stately, sharply articulated and subtly driven reading, in which the closing Allegro gradually took on the exciting qualities of a perpetual-motion piece. Two of the youngest stars of the guitar world, Jason Vieaux and Ana Vidovic, offered strikingly contrasting back-to-back performances during the afternoon concert.
North also joined forces to close the marathon with another Weiss work, the spirited, bustling Sonata in C for two lutes. O’Dette in textural clarity in his performance of the Cello Suite No. The other lutenist on hand, Nigel North, matched and at times surpassed Mr. Nigel North, left, and Paul O'Dette performing at the New York Guitar Festival on Sunday. O’Dette played with a crispness that overcame the gentleness of the lute’s sound and clarified the counterpoint within textures that, in other hands, often seem merely chordal. Here and in his performance of the Sonata in G minor (BWV 1001, originally for unaccompanied violin), which opened the evening concert, Mr. The lutenist Paul O’Dette, who assembled the marathon with David Spelman, the festival’s artistic director, opened the afternoon session with the Lute Suite in A minor (BWV 995) in a delicate, fluid rendering that embraced both the free-spirited, almost improvisatory nature of the Prelude and the stylistic formality of the dance movements. But if Bach was the headliner, his music was also a blank canvas on which these musicians projected an overview of the superb state of guitar and lute technique, and the breadth of interpretive imagination that illuminates their work.
Virtuoso players have transcribed the unaccompanied violin and cello works as well.īach was the focus of the New York Guitar Festival’s fifth biennial guitar marathon at the 92nd Street Y on Sunday, when 11 guitarists, 2 lutenists and a violinist and a harpsichordist who invited them? performed in afternoon and evening sessions. His lute music four suites and other pieces has long been the foundation for guitarists. Bach never composed for it, but that has not stopped guitarists from drafting Bach into their repertory. A small-waisted, double-strung version of the guitar flourished in France, Italy and Spain in Bach’s day, though not in Germany.
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