- Thibault Cauvin guitar
Astor Piazzolla Milonga del Angel [4’]
Marco Pereira Bate-coxa [4’]
Stephane Grappelli Les valseuses [3’]
Jeux Interdits II (Forbidden Games II) [4’]
Bach autrement I (inspired by Prelude in C major from Das wolhtemperierte Klavier I, BWV 846) [3’]
Bach autrement II (inspired by Prelude from Cello Suite No. 1 in G major, BWV 1007) [3’]
Bach autrement III (inspired by Prelude BWV 855a) [3’]
Mathias Duplessy Chevauchée celeste (Heavenly Ride) [5’]
Sébastien Vachez Raga du soir (Evening Raga) [4’]
Classical guitarists do not have it easy. Yes, there is some repertoire for their instrument (from classical sonatas to 20th century and contemporary pieces), but it is rather scarce compared to what almost all the other musicians can choose from. It is only natural, then, that guitarists use arrangements originally meant for the piano or other instruments. And so, during Thibault Cauvin’s recital we will both hear compositions written with the guitar in mind (e.g. Marc Pereira’s Bate-coxa or Raga du soir by Sébastien Vachez) and ones we have been used to in other versions, in some cases performed by ensembles (e.g. Milonga del Angel by Astor Piazzolla, Les valseuses by Stephane Grappelli, or Mathias Duplessy’s Chevauchée celeste).
Sometimes, composers go even one step farther and write pieces “in response to”. Doing just that, Cauvin entered into a musical dialogue with the great Johann Sebastian Bach. In his Bach autrement (“Bach: differently”) works, he not so much performs Bach’s music, but rather lets his mind wander and explore his thoughts on the original pieces.
The guitar is a relatively quiet instrument. It sounds best solo, without any competing sounds that could drown it out. Therefore, even in larger rooms it often creates a sense of intimacy and cosiness, perfect for Bach autrement.
Dominika Micał, “Ruch Muzyczny”