Transcriptions of J.S Bach’s
Sonatas and Partitas for violin
are not new or particularly uncommon on record these days, and many
with an affection for the lute will know Hopkinson Smith’s recordings,
the most voluminous of which is a two disc set on the Auvidis label,
E8678. Smith is one of the names cited as having given master-classes
to Miguel Rincón, and he is part of a fine tradition of expert
craftsmen in their field.
If you know the Smith recordings you will probably enjoy their rich
warmth and expressiveness. Rincón is broader in general, with timings
more often than not a touch longer than Smith. His sound is less warmly
embracing than Smith’s, but wins in terms of transparency as a payoff.
The playing here is richly colourful and varied as you would expect, with
contrasts of tonality and dynamic emphasised through a constantly changing
touch. There is a certain amount of noise from the fingerboard, with the
little squeaks and creaks all part of the physical nature of this kind of
performing. The closer you listen the more you might be able to pick out
tiny imperfections, but Rincón’s musical intensity is balanced
against a technical ease and sense of flow which sweeps away most of these
minor and highly subsidiary blemishes.
If the higher register nature of the solo violin is not to your
liking then this kind of performance can provide an entry into some superb
music. Bach’s own transcriptions are cited as examples to provide
validity for such an approach to these pieces, and with the lute still being
an important instrument in Bach’s time there is no feeling of our
lacking the authentic touch in these transcriptions. The violin
Sonatas
and Partitas are after all polyphonic in conception, and the lute is
very much a polyphonic instrument. The only thing you really find lacking
with the lute is that sense of tension you have with the violin, the feeling
of melody and polyphony occupying the same space at the same time and
clashing as a result. These performances are more relaxed in feel as a
result, which as I say, could well be a good deal preferable for many
people.
Miguel Rincón’s performances of these two masterpieces
are as good as any I’ve heard, and if you dive straight for the famous
Ciaconna which concludes the
Partita BWV 1004 then you are in
for a treat, the narrative span and fascinating variations Bach manages to
conjure creating a tapestry of sound through which you can wander in your
imagination for what seems like hours. With a slower tempo than Hopkinson
Smith, who comes in at 12:15, there is less of a sense of urgent drama in
the music, but Rincón still maintains the harmonic pace and logic
which keeps interest and that sense of awe the music should inspire. After
all, Julian Bream took nearly 16 minutes in his EMI guitar recording and
that still sounds marvellous. Rincón’s 14:42 is by no means
pedestrian.
Presented in a slim-line card folder and printed in economic black
and white, this is still a nicely presented package with notes in English,
German, French and Spanish as well as some atmospheric photos. With subtle
ornamentation, fine tone and a wide range of expression, this is a Bach
recording which satisfies on many levels.
Dominy Clements
