{"id":1760,"date":"2022-10-14T11:11:59","date_gmt":"2022-10-14T15:11:59","guid":{"rendered":"http:\/\/alcguitar.com\/blog\/?p=1760"},"modified":"2022-10-14T11:12:36","modified_gmt":"2022-10-14T15:12:36","slug":"interview-fanfare","status":"publish","type":"post","link":"http:\/\/alcguitar.com\/blog\/interview-fanfare\/","title":{"rendered":"REVIEW – INTERVIEW by Ken Meltzer"},"content":{"rendered":"

God\u2019s Time\u2014Music of J.S. Bach on Guitar <\/em><\/strong>is another in a series of superb recordings from Aaron Larget-Caplan. Here, Larget-Caplan performs his own transcriptions of Bach\u2019s music. In my extended interview with Aaron Larget-Caplan, the guitarist describes his intensive exploration of Bach, and pays tribute to the musicians who have served the Baroque master so well. In that interview, Larget-Caplan\u2019s reverence for, and affinity with Bach\u2019s music are clear. And those elements are affirmed both in Larget-Caplan\u2019s superb transcriptions and his poetic renditions<\/strong>. All of the transcriptions preserve the integrity and beauty of Bach\u2019s original compositions.<\/p>\n

In our interview, Larget-Caplan quotes organist\/harpsichordist Peter Sykes, who \u201cadvised that transcriptions should sound as if they were written for the instrument.\u201d This, Larget-Caplan achieves as well, in sterling fashion. And the rightness of his transcriptions are affirmed in performances that bear Larget-Caplan\u2019s characteristic gorgeous tonal quality, crystal-clear articulation, and poetic phrasing. Larget-Caplan\u2019s delineation of Bach\u2019s contrapuntal writing is remarkable for its balance of precision and supple musicality. And in his fiery rendition of Bach\u2019s Chromatic Fantasy<\/em>, Larget-Caplan communicates his view of the work as a precursor to the Sturm und Drang <\/em>movement. The gorgeous recorded sound does full justice to Larget-Caplan\u2019s artistry. A splendid release.<\/p>\n

Ken Meltzer, Fanfare<\/strong><\/p>\n

\"5<\/strong>Five stars: Guitarist Aaron Larget-Caplan\u2019s exquisite transcriptions of Bach<\/strong><\/p>\n

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Interview with Aaron Larget-Caplan by Ken Meltzer, Fanfare<\/strong><\/h2>\n

God\u2019s Time\u2014Music of J.S. Bach on Guitar, presents arrangements and performances by Aaron Larget-Caplan. I spoke with Larget-Caplan about his lifelong exploration of Bach, the composer\u2019s legendary interpreters, the art of transcription, and the significance of the repertoire included in God\u2019s Time<\/em>.<\/p>\n

Your liner notes for God\u2019s Time \u2013 Music of J.S. Bach on Guitar contain some fascinating comments that I would love to pursue further. For example: \u201cThere are many interpretations of Bach\u2019s music by renowned artists to explore and ideas to internalize, which early in my career I found musically overwhelming.\u201d Tell us about some of those artists, and why they inspired the profound reaction you describe.<\/strong><\/p>\n

The recordings of the major 20th<\/sup>-century masters were so full of personal character and technical mastery with each bearing the stamp of the performer, the space, and the label. I\u2019m thinking of Gould and Richter, Heifetz, Landowska, Rostropovich, and Casals. They did things that many frown upon now, but even the approach to how the instruments were recorded was unique with the labels trying to be independent of each other. These performances still make me excited.<\/p>\n

As I explored more and more, I discovered pianists such as Samuel Feinberg and William Kapell, both of whom were technical masters. I fell for Kapell through his Prokofiev recordings.<\/p>\n

Living in Boston, violinists Rachel Podger, Christian Tetzlaff, Christoph Poppen are not unheard-of names. Each quite unique from the other, they shed light on ornamentation, variation of tempi, and lyricism.\"\"<\/a><\/p>\n

I believe every guitarist goes through a harpsichord\u00a0phase. Mine began with Landowska, and then the NEC early music department under John Gibbons. The wonderful Peter Sykes has deservingly placed his stamp on Boston and I\u2019m grateful to hear him perform. Searching for Lute-harpsichord albums, I found the lovely collection by Robert Hill. Informative notes and playing, but hearing such works on early keyboards, which have different mechanisms and action speed then the modern day piano also gives the work a human touch. Gould is great, but fast is not always a choice I agree with.<\/p>\n

Regarding the guitar, I fell in love with the early recordings of Maria Luisa Anido and Luise Walker for their use of color, rubato, and unbelievable technical abilities. Segovia\u2019s Cello Suite No. 1 Prelude was, and still is, mind blowing. The structure and drama of Julian Bream\u2019s Lute suites, the clarity of the Assad Duo, Paul Galbtraith\u2019s silky touch, and the inventiveness of David Leisner\u2019s ornamentation all played influential roles in what I do today.<\/p>\n

At the end of the day, I can\u2019t say any of these are right or wrong. I believe it is up to the artist to fully invest themselves in the music. I am not Julian Bream, nor should I be. To have Music in Life and a Life in Music means I must be me in every note. That said, stealing is most welcome.<\/p>\n

You further reveal: \u201cI took a break from programming (Bach) to allow time to study his music through unknown masters on various instruments, read more about his life, and further explore the place of music in society through writings of John Cage, Toru Takemitsu, Hazarat Inyat Kahn, and others.\u201d Would you be willing to tell us more about this path of exploration?<\/strong><\/p>\n

Society\u2019s relationship with music has changed over the course of time. What was once sacred and only heard in a church or private court is now background music or filler for video games. Since my first album was released in 2006, the practice of hearing and experiencing music has completely changed, and that\u2019s without thinking about Covid.<\/p>\n

For a short time in 2nd<\/sup> half of the 20th<\/sup> century, the advent of recorded music allowed some musicians to believe that recordings would be enough to give up live performance. For some this was great, while others disagreed. Though it wasn\u2019t an option for me, I do believe the relationship between artist and audience to be sacred. I worked to make the recording intimate and as if the listener had very good seats in a beautiful space.<\/p>\n

Books on the life of Bach and interpreting his music that I found inspiring:<\/strong><\/p>\n