... spannt mit seinem Programm einen weiten musikalischen Bogen. Seine Auswahl der Kompositionen folgt einer Spur, die von seinen Sympathien zu den verschiedensten Musikrichtungen getragen wird. “Ich kann nur Stücke spielen, von denen ich träume und die mich auch noch nach vielen Jahren überraschen“, prägt seinen Stil.
Die Faszination einer Fuge von Johann Sebastian Bach oder die Klangwelten des Jazzstandards „Round Midnight“ von Thelonius Monk geben dem Künstler im Live-Konzert das Gefühl, zur richtigen Zeit am richtigen Ort zu sein.
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Bach meets Monk
This gorgeous, moody recital, captured live with - so the otherwise less than informative bookletnotes tell us - no cutting and little post-production, is a diverse one.
Nevertheless, guitarist Augustin Wiedemann adopts a consistently lyrical posture throughout. The results are something special.
The opening Barrios is all insouciance, yet Wiedemann's considerable musicianship is also capable of lending dignity to Giuliani's far shallower Sonata in C. Dignity is hardly wanting in Bach's Adagio and Fugue, from the Solo Violin Sonata, BWVI005: here Wiedemann renders the successive waves of tension and release with a touching warmth and a fearless use of variation in tempo and tone-colour.
Fans of Barenboim's Bach will relish this approach. And how effective to follow this with Thelonious Monk's Round Midnight (in Roland Dyens's arrangement)! Wiedemann may not quite swing like Monk but the sensitive phrasing is utterly lovely.
Dyens's "Fuoco" from Libra Sonatine and Buck Wolters's Afruitarra really put both Wiedemann and the 1933 Hauser I -the mellow treble and rich bass of which have been captured to perfection on this recording - through their paces, resulting in some of the most exhilarating playing on the disc. The final work, the Lento from Duhin Bogdanovich's Jazz Sonata, allows both Wiedetnann's and the instrument's exquisite tone to shine through.
(2006, William Yeoman, Gramophone UK)
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