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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

 
 


 

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.
Tomasz Zawierucha