It’s Bach; it’s the guitar; it’s transcriptions of works originally written for other instruments. We’ve heard this stuff before, the kind of thing guitarists resort to because it’s so darn attractive and the music so easily lends itself to this sort of treatment. And also as usual, it’s intelligently scored and very well played, from the solo flute Partita in A minor BWV 1013 to the keyboard Preludes in E and C and the solo violin sonata in G minor BWV 1001 (here transposed to A minor). Equally ambitious is guitarist Enno Voorhorst’s transcription of the harpsichord concerto BWV 974, which originally was an oboe concerto by Alessandro Marcello. Of course, we get the usual pluses (sharp, clearly detailed articulation) and minuses (sharp, clearly detailed articulation) that both effectively define the lines and at the same time obscure the harmony due to the quick decay of the plucked strings. Indeed, unless you’re a guitarist or otherwise a fan of the instrument, the uniformity of the plucked-string articulation, the squeak of fingers sliding, and the attendant plinks and snaps also may wear thin on the ear after a while. And although I certainly can appreciate the value of Bach heard in different contexts (which the master himself fully sanctioned!), the guitar may not necessarily be the ideal vehicle, particularly in the case of the solo violin sonata, where the plucked instrument simply cannot sustain the contrapuntal lines and adequately support the work’s complex textural structure. Nevertheless, Voorhorst is unquestionably a fine musician whose mastery of the guitar in this repertoire is beyond doubt; perhaps he will offer some performances of original guitar works on his next recording. The sound is fully supportive of the solo instrumental setting and affords a natural, intimate acoustic.
