Johann Sebastian Bach (1685-1750)
pour la luth o cembal"
BWV 998 (1740)
pour la flûte traversière"
BWV 1013 (1718)
4. Bourée Anglaise
"Partia secunda a Violino Solo senza Basso"
BWV 1004 (1720)
(from: Sei Solo a Violino senza Basso accompagnato)
titel: The eight-stringed Bach
composer: Johann Sebastian Bach.
label: Accent Records
CD number: ACC 24206
recorded: at the chapel of Rosario, Bever, Belgium, January 2009
instrument: Kolya Panhuyzen (2006)
total duration: 67'17"
illustration: photo Marleen Peeters
THE EIGHT-STRINGED BACH
Raphaella Smits arranged Johann Sebastian Bach for eight-string guitar.
WHAT OTHER PEOPLE SAY
THE ENGLISH INSERT NOTES
LES NOTES EN FRANCAIS
DAS KOMMENTAR IN DEUTSCH
RAPHAELLA'S VISION ON BACH + 8-STRING GUITAR
"The idea of performing Johann Sebastian Bach on the guitar is not
as incongruous as would appear at first sight. There are many examples
which show how Bach himself designed a single piece to be performed in
different arrangements – because, after all, the music is more important
than the instrument. A good transcription or a good arrangement will not
question the instrument performing it.
It is obvious that – starting with a flute, lute or violin score
– I have used the complete range of my eight-stringed Kolya Panhuyzen
guitar. The richness of an instrument must serve the music totally without
modifying what should be at its heart."
Read more in english -
OTHER PEOPLE SAY
Jan Luijsterburg, critic for hifi.nl (NL):
"The virtuosity is allways for the benefit
of the musical result. More beautiful music does not exist, more beautiful
performances I can not image. Maximum recommended."
Rolf Nilsen, critic for Gitarr och Luta magazine (SE):
"Raphaella Smits has made herself the arrangements
for the Bach repertoire, and one can immediately conclude that she has
managed this extremely well. And as she plays! One can rediscover these
familiar pieces of music vibrating in the Rosario chapel when they come
into being between her fingers and the eight-stringed guitar of Kolya
There is an obvious joy and insight into her playing: all the pieces fall
in the right place and one can only find that everything is correct. It
is rare to hear such a well-defined recording, in a warm, yet clear sound
where no tone is hidden behind another-one. It is such a successful record
where all the elements fuse together in a perfection that make listening
a pure pleasure. You play it over and over again, and imagine
to have come closer to Bach himself! "
Floris De Rycker, critic for Klara's Oordeel (BE):
"You recognize immediately Raphaëlla Smits'
warm tone and sophisticated poetic timing. What makes this recording particularly
clever are her smart arrangements for eight-string guitar.
The famous baroque music certainly benefits from
the extra bass: with the impressive register, the soloist has more
possibilities and the modern guitar can compete with the baroque lute
The rhetoric is so well put that the music - full of dialogues and surprises
- not once gets boring, you get one long story from beginning to end.
This CD is to enjoy from the first
to the last second.".
Juan Parilla, musicologist (ES):
"... the Partita Secunda a violino solo senza
basso of J.S. Bach, with a very attractive transcription for eight-string
guitar made by the gitarist herself. A Baroque performance with a refined
taste like not many players can do, and she shows us that it is possible
to disclose the most pure romanticism in this music style,
always so complex to play. Due to this Raphaella Smits has moved us deeply."
Fa Claes, auteur (BE):
"I have never heard Bach presented with so
much sensitivity. Raphaella reads Bach's soul and interpreets
an entire gamma of feelings like it has never been dared before, maybe
because it was never experienced. To me this performance is a revelation
and a confirmation."
Nicholas May, go-fubar.kyushu.com (JP) about Smits and Bach on guitar:
"Polyphonic Bach on an 8-string guitar? Yes!
- every complex living element of it - the very soul of the music alive
and breathing. A fabulous performance of Bach. Quite
extraordinary, exciting in a way I had never - in my wicked musical snobbery
- thought the classical guitar could be."