Guitarist Sean Shibe is building up a diverse discography with Delphian. In this latest and highly anticipated release, he turns to Bach and his Lute Suite. The Suites are a rather curious case, with many scholars maintain were written for either a harpsichord or “Lute-Harpsichord”, which we know was part of the Bach’s estate of musical instruments in 1750. Shibe programs two of the four suites for lute, together with the “prelude, allegro and fugue” (BWV 998).
Opening with Lute Suite No. 1 in E minor (BWV 996), Shibe instantly creates a gripping and refreshing sound world. His sound is sonorous — especially in the lower registers, colorful and controlled. while there is an air of introspection, Shibe balances this perfectly with a communicative and persuasive performance. The suite opens with a “Prelude”, which evolves and blossoms. Its recitative-like qualities settle naturally, while the second section marked “presto” is phrased thoughtfully; repeated rhythmic ideas are fresh, each one given its own shape, highlighting the high level of musical detail Shibe finds below the surface. The “Courante” has an elegant transparency, despite the chords being lower in the guitar register. Natural phrasing in the Sarabande is executed with diligence and awareness of the music’s architecture.
Shibe finds a different, complementary character in the Second Lute Suite, BWV 997. This charming work combines dances with a fugue and a set of variations, and their distinctive personalities are celebrated from the enigmatic Prelude to the sophistication of the Sarabande and the playful, but somber, Gigue. The lovely “Prelude, Fugue and Allegro” (BWV 998), which concludes the album, brings a shaft of light after the previous two muted pieces. While it doesn’t contain any musical fireworks, Shibe showcases his skills in exquisite phrasing, which highlights the counterpoint.
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Repeats throughout are observed, with each one treated differently, making each repetition somehow sound new with Shibe’s own stylish ornaments. In some repeats, it is the dynamic contrast that is used to create a different mood; in others, the ornaments enhance the melodic line. There is nothing predictable in his approach, which is always appropriate and sincere to the character of each movement. The only minor shortcoming is Shibe’s use of vibrato; Although employed sparingly with modesty and restraint, the quality of his tone is such that some will find it redundant.
The detailed analysis in the booklet is an interesting and informative read, but requires a little musical knowledge. Recording these works in the unobtrusive acoustics of Crichton Collegiate Church, Midlothian, Scotland, gives the pieces an appropriate musical setting, aiding the reverent ambiance Shibe paints.
There are many performances of these works in the catalog. Vintage performances on guitar include Julian Bream and John Williams; a more recent and comparable release comes from Franz Halász, who plays the Suites in their original key for lute on modern guitar (see our review here). This new release is an essential addition to sit proudly alongside these formidable interpreters. Shibe is so successful here that another disc to complete the lute suites would be most desirable.
Bach – Lute Suites in E Minor (BWV 996), C Minor (BWV 997), Prelude, Fugue and Allegro (BWV 998)
Sean Shibe – Guitar
Delphian Records, CD CDC34233
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