简介:
Bach Sonatas - Lara St John, violin + Marie Pierre Langlamet, harp - Ancalagon LLC - ANC 139 (2011)
Recent projects include one more Bach album which came out Feb 14, 2012 ?this time Sonatas for Violin and Harpsichord (without the 'sichord'') with Marie-Pierre Langlamet on harp, recorded in Berlin in early January 2011. This is a very cool project because she is the best harp player in the world, and I think I learned a lot. How to play softly, yet carry a big stick, for one. Also, this was my first time recording in Germany. We went on the road with a Northeastern 'Harpolin' tour in Feb/March 2012 - who knew such a beautiful instrument could be so unwieldy!
~Lara St John - http://www.larastjohn.com/
Allmusic review:
While it is common to hear the violin sonatas & the flute sonatas of J.S. Bach performed with harpsichord accompaniment, it is unusual to find a recording where the same music has been transcribed for violin & harp. For their 2012 release on Ancalagon, violinist Lara St. John & harpist Marie-Pierre Langlamet played the sonatas BWV 1014, 1016, 1020, 1030 & the Siciliana from BWV 1031, following a practice that Bach & other composers employed in the Baroque era (i.e., by adapting the music to the available musicians). As novel as these violin & harp arrangements may seem, the results are quite pleasing & easy to adjust to, despite the obvious fact that the modern pedal harp wasn't developed until the 19th century, which makes its use in Bach as anachronistic as a Steinway grand piano. Yet there is an equally obvious advantage in using the harp, because its volume & resonance are a good match with the violin, & the updated instrumentation makes the performances feel creative & intellectually involving because expectations are switched & the music is reimagined. St. John's playing is thoughtful & nuanced, though her expressive inflections include a slightly bent intonation that is sometimes in conflict with the harp's strict tuning; furthermore, Langlamet's tone is consistently lush & rounded, which might disconcert listeners who miss the secco quality of a harpsichord. But aside from these points, this is a refereshing take on Bach that shows some rethinking of the issues of historically informed practices of versus modern performances & shows there are more than just 2 ways to interpret the music. 曲目:
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发表于 2020-2-18 18:03:27
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