Christopher Parkening plays Bach | Johann Sebastian Bach, Francois Couperin, ...

Christopher Parkening plays Bach | Johann Sebastian Bach, Francois Couperin, ... | The Perfect Storm

classical music:

Christopher Parken...

	Christopher Parkening plays Bach Johann Sebastian Bach, Francois Couperin, ... EMI Classics, 1990 average customer review:based on 16 reviews view larger image
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highly recommended

Pinnacle

I can't over-exaggerate the impact this album had on me when my Dad played it for me when I was about 6. It encouraged me to become a guitarist, and hearing it was my first truly profound musical experience that I can remember.

I love all kinds of music, but nothing has touched me like this album in the 19 years since then. Parkening's reading of Bach arranged for the classical guitar is flawless on this recording; no one, not even his mentor has matched it.

"Jesu, Joy of Man's Desiring", "Sheep May Safely Graze" and especially "Sleepers Awake" are the best renditions of these songs that I've heard, regardless of the arrangement. His control and dynamics are just staggering.

I can't explain where this album or music came from. It's my absolute favourite album. It's part of human evolution and the continually unfolding Great Work.

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The Perfect Storm

The are times when the musician, the composer, and the instrument just match perfectly; this disc is an example of that.

Nevermind that Bach never wrote a single note for the guitar, many of his pieces actually work better on the guitar than they would the clavier. The guitar provides much more opportunity for the musician to impart emotion by varying volume and tone. And Parkening capitalizes on that opportunity beautifully.

His playing is clean, thoughtful, and competent. This is, in my opinion, clearly Parkening's best recording. I highly recommend it. (I also recommend his In the Spanish Style, another of my favorites).

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Parkening Play Bach and Plays Him Stunningly!

I have loved this recording for over 20 years. I had it on vinyl and was thrilled when it was released in 1985 onto CD along with 6 extra cuts. Originally a Bach interpretive LP of 10 tracks, the CD release added 6 compositions from Couperin, Handel, Weiss, Scarlatti and Visee.

This is now a rare recording, so get it while you can. It's peaceful, highly skilled and simply Christopher Parkening, playing bare and alone, and shining like the sterling musician he is!

more wonderous with each passing year

Most of the reviewers have said (and better than I can) what makes this album so special. I remember having this on cassette and wearing it out. People who have no interest (and sometimes I can't blame them...) in classical music might grow fond of this if they give it a try. You don't need any kind of background or knowledge, just a willingness to open your heart and ears to something so sublime it is beyond words. Bach is our true musical spiritual leader!

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Segovia's heir

Mr. Parkening is the fortunate possessor of (in no particular order) excellent technique, beautiful tone, the endorsement of Segovia, a great deal of musical talent, and (so I am reliably informed) considerable good looks; and these very marketable (and indeed praiseworthy) things have helped to take him to the very top of the music world in the United States.

The present album includes the complete LP "Parkening plays Bach", plus five contemporary works from "Parkening and the Guitar", and is a good sample of his playing of the Baroque repertory. The total time is a shade over 55 minutes.

Despite this performer's popularity, two major criticisms have been levelled at his playing: one a question of fact, the other of taste.

It is indisputable that Mr. Parkening's interpretations (especially the early ones) owe a lot to Segovia's, and some (e.g. the Gavotte) are so close as to be carbon copies. Nevertheless, he has a definite (although much akin) musical personality of his own, which is evinced on several pieces that the Old Man never played. But more than this, I would recommend to you his playing even of the Segovia repertoire -- because it *isn't* just an imitation, he clearly *feels* the music the same way, and plays it with total conviction, beautiful sound, and -- a quality decreasingly in evidence these days -- punch.

The second charge is inextricably bound up with the first. The protagonist's interpretive orientation is clearly Romantic, and "too sugary" is a representative criticism. I understand this view, but by and large I don't find myself in sympathy with it. Although some of Mr. Parkening's transcriptions (especially the double-tracked ones) occasionally teeter towards the mawkish, they seldom tip over into vulgarity, and if the organ transcriptions are not quite to my taste, I found the playing of Handel, Weiss and Couperin* superb, making most other guitarists sound anæmic by comparison. The one total disaster on the album is BWV 998, which is castrated by the incomprehensible omission of the Fugue.

In summary, I found a lot to enjoy on this album; and if Segovia was your favourite guitarist, the chances are that you will too.

Disdaining not only a photograph but even a mention of the guitar, Angel have adorned the cover merely with the title, and the artist's arresting profile. Oh well, I suppose it's better than showing him sitting on a horse in a flimsy nightie (the guitarist, that is, not the horse).

*The harpist Nancy Allen loved this recording of "Les barricades mystérieuses" so much that she was inspired to record it herself. Interestingly, the key here is D, although Mr. Parkening's published arrangement is in C. His secretary has acknowledged (2003) that he sometimes uses a capo to "[make] the piece sound more brilliant while keeping the best fingerings".

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