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
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.
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!