|
Deutsch | |
|
||
|
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.
|
|
In selecting the works for the present
release, I wanted to compare three examples of pieces scored for different
resources. The compilation opens, therefore, with the matchless Partita
no. 2 in D minor BWV 1004 from the Sei solo à Violino senza Basso
accompagnato that Bach wrote in Köthen. The following Lute Suite
BWV 995 is Bach’s own transcription of his Cello Suite no. 5 BWV
1011, which likewise dates from his time in Köthen. The Suite BWV
997 exists in several different versions, including one for lute-harpsichord
or harpsichord. Unfortunately the original autograph is no longer extant:
we have only copies in the hand of Johann Friedrich Agricola (1720 –
74) and Johann Philipp Kirnberger (1721 – 83) among others. And
there is also a surviving lute tablature by Johann Christian Weyrauch
(1694 – 1771) that is headed "Partita" and that includes
only the Prelude (here called a "Fantasia"), the Sarabande and
the Gigue. In his examination of dance forms in general, the Hamburg composer
and theorist Johann Mattheson (1681 – 1764) describes the basic
form of the suite as a set of four dances: Allemande – Courante
– Sarabande – Gigue. This model was often used by Bach, who
modified it, sometimes by adding further dances and introductory movements.
The Partita no. 2 in D minor for unaccompanied violin adopts the above
model and adds the Ciaccona – an absolute masterpiece – in
final position. All the movements have Italian titles that reflect the
suite’s Italian style. Unfortunately Bach himself is not known to
have transcribed this work for another instrument. It seemed to me to
be desirable to expand the bass line, which in the original is necessarily
limited by the constraints on violin technique. In spite of their wonderful
– and sometimes hidden – polyphonic textures, the Allemanda,
Corrente and Giga are highly violinistic in character. The Sarabanda has
a similar character to the Ciaccona and can easily be transcribed for
the guitar on the basis of its rich harmonic textures. There are few works
in the history of music that have inspired as many transcriptions as the
final movement of the Partita no. 2, the Ciaccona. There are versions
for different solo instruments such as Busoni’s transcription for
the piano, and there are also versions for chamber groupings. |
||||||||||||||||||||||||
