Zsombor Sidoo Plays Partita No.1, BWV 1002 by Bach

Hungarian classical guitarist Zsombor Sidoo performs Partita No.1, BWV 1002 for solo violin by Johann Sebastian Bach (1685-1750). This comes via Sidoo’s YouTube channel (go subscribe). Fantastic performance with a crisp and clear rhythmic cohesion. Each movement showcases his excellent phrasing in different tempos and control over the form of the movement. I also absolutely love his amazing bell-like cross string trills. This is the first time I’ve featured Sidoo and I can’t wait to hear more.

Movements and Times

  • Allemanda 00:00
  • Double 02:51
  • Corrente 04:40
  • Double Presto 06:21
  • Sarabande 08:31
  • Double 10:59
  • Tempo di Borea 12:57
  • Double 15:06

Bradford Werner
Bradford Werner

Bradford Werner is a classical guitarist and music publisher from Victoria, British Columbia, Canada. He originally created this site for his students at the Victoria Conservatory of Music but now shares content worldwide. Curating guitar content helps students absorb the culture, musical ideas, and technique of the classical guitar. Bradford also has a YouTube channel with over 100,000 subscribers and 14 million views. He taught classical guitar at the Victoria Conservatory of Music for 16 years and freelanced in Greater Victoria for 20 years and now dedicates much of his time curating content online and helping connect the classical guitar community. See more at his personal website.

3 Comments

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  1. Amazing performance – a particularly beautiful rendition of the Sarabande. He has a really lucid, round, bell-like tone; a great sound from such a small-bodied guitar.

  2. Excellent playing, lovely guitar (I assume a replica). Question on ornamentation–Brandon Acker has said that cross-string trills are not “authentic” on music composed for strings. I know that David Russell in his recording of Couperin’s “Les barricades mystérieuses” makes liberal use of cross-string trills, but I’d think Acker might excuse this because it’s a keyboard work. I’m fine with whatever sounds good (and I wish my cross-string trills WERE good). How do you feel about it?

    • To be honest, I don’t really consider playing Baroque music on guitar to be “authentic” so I have no problem with cross string trills. The Baroque was filled with a freedom of ornamentation that I don’t think would regulate how the player accomplishes them one way or the other. That said, if it is distracting from the music rather than complimentary then a larger discussion might be needed. Some of the time, cross string trills are a necessity because shifting positions to get a good slur pattern can be problematic. Maybe I should make a video about this as there is too much to say!