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Tomasz Zawierucha studied with Thomas Müller-Pering and Monika Rost. Even while he was still a student, he was already winning first prizes at competitions as diverse as the prestigious Tokyo International Guitar Competition, the Concours International de Guitare Ville d’Antony to the south of Paris and the Dundee International Guitar Competition. Following his solo recital at Bunka Kaikan Recital Hall in Tokyo, the Gendai Guitar magazine described him as "undoubtedly one of the most interesting guitarists of his generation". His Tokyo recital was followed by invitations to perform at leading festivals from the Stuttgart International Classic Guitar Festival and Glasgow’s Big Guitar Weekend to the Tokyo Guitar Festival and the Rencontres de la Guitare in Paris. Tomasz Zawierucha has also given masterclasses and served on the jury at many international guitar competitions. Among the artists with whom he has appeared in chamber recitals are Thomas Müller-Pering, John Dearman and Olaf Van Gonnissen. He has made radio recordings in Germany (MDR and WDR), Italy (RT), Poland (PR2), Japan (NHK), France and Spain. His two CDs, The Twilight Zone and Un tiempo fue Itálica famosa, have been acclaimed by international reviewers in Guitar Art, The Times and Record Geijutsu. Tomasz Zawierucha teaches the guitar at the Franz Liszt University of Music Weimar and at the State Vorarlberg Conservatoire, Austria. He is also a guest lecturer at the Royal Conservatoire of Scotland in Glasgow.

 

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Tomasz Zawierucha plays Bach
Tomasz Zawierucha | Gitarre

CLCL 117

JOHANN SEBASTIAN BACH (1685 – 1750)
Partita No. 2 BWV 1004

Allemanda
Corrente
Sarabanda
Giga
Ciaccona

05:24
02:49
03:46
04:55
14:05

Suite BWV 995
Prelude
Allemande
Courante
Sarabande
Gavottes I & II
Gigue
05:40
04:57
02:01
03:50
04.44
02.24
Suite BWV 997
Preludio
Fuga
Sarabande
Gigue & Double
03:52
07:11
05:06
06:32

total 77:00


All Works are transcribed by Tomasz Zawierucha. His transcription of the Partita No. 2 BWV 1004 is published by Chanterelle Verlag. www.chanterelle.com


Reviews


Of the dozen or so CDs that hit my doorstep earlier this week, three are Bach-only releases and two others contain a significant Bach representation. How many more have recently passed through the CG office and been allocated to other reviewers is anybody's guess. So all credit to Tomasz Zawierucha, who first rose to prominence following his Dundee victory in 2004, for acknowledging the industrial scale of Bach on the guitar with the words 'although there are already so many other recordings of this infinitely multi-layered music, I have decided to add my own version, perhaps in an attempt to test my own maturity as a musician'. You can't argue with that, and all credit to Zawierucha for showing such refreshing humility in an area where so many succumb to verbal flatulence.
A slight ripple following the anacrusis at the start of BWV 1004 establishes Zawierucha as a subscriber to the view that it's desirable to expand the harmonies implicit in the violin originals, a policy he carries out most extensively in the Allemanda, Corrente and Giga. This is an area where few sit on the fence, the fact that I no longer hold any strong views either way being guaranteed to annoy every¬one. But it would take an exceptionally hard-line member of the 'deliver it straight' brigade to object to the noble and patrician accounts Zawierucha serves up, the rich and resonant tone emanating from his Masaki Sakurai guitar doing much to help the music on its way. Particularly impressive is Zawierucha's handling of the fluttering arpeggio figures in the central part of the Chaconne. Every guitarist has his or her own way of meeting this technical challenge, but Zawierucha's is one of the most neat and focused to come my way in recent years. Equally successful are the two items formerly known as 'lute suites', the harmonisations in the surviving sources meaning that the issue of added basses no longer applies.
Quality Bach from a guitarist whose stated wish to put his own abilities to the test has surely been met.
Paul Fowles
Classical Guitar Magazine

 



Reviews

Soundboard has been graced with many beautiful Bach recordings in the last year, and Tomasz Zawierucha Plays Bach is another fine effort. Zawierucha begins with Partita No. 2 for violin, which, of course includes the "Chaconne". He takes a fairly free approach to adding notes and lines implied in the original, a choice of which I heartily approve. It is certainly always tasteful and stays away from any anachronistic reharmonizations such as Segovia utilized. (I do, however, like the Segovia "Chaconne", but in a hyphenated-Bach way.) The four dance movements are performed in exemplary fashion, with especially well-judged tempi, culminating in a danceable "Gigue". It is not uncommon for allemandes and courantes to devolve to a kind of uni-tempo sameness. His performance of the "Chaconne" is fascinating. He adds basses discretely and ornaments freely, all the while maintaining a tremendous forward thrust. His elaboration of the arpeggios at the end of the first D minor section is done in a way new to me. At any rate, it leads to a passionate climax before the major-mode section gives us a time of repose preceding a dramatic ending. Zawierucha’s performance of S. 995 (Lute Suite No. 3) is also excellent. He continues the rhythmic freedom from the Partita, but, again, never in a way that compromises structure or betrays technically-imposed choices. The "Prelude", with its fantasia-style opening, is beautifully ornamented, leading into a brisk fugato. Interestingly, the very sparse "Sarabande" is left unembellished, allowing the guitarist’s exquisite sound and inflection to illuminate the piece in a remarkably satisfying fashion. S. 997 (Lute Suite No. 2) is performed with equal excellence. Throughout the disc, Zawierucha’s methods of ornamentation are highly varied, including melodic additions, cross-string trills, beautiful arpeggiation of cadential chords, and double dotting. And this is not an exhaustive list. It adds up to a Bach which is both profound and highly expressive. If you like your Baroque music bland and uninflected, Zawierucha will not be your cup of tea, but I liked it very much. Recorded sound by John Taylor is exemplary […].
Al Kunze
Soundboard Vol. XXXVIII, No. 2