Review of Bach by Emanuele Segre, Limen, 2016
“All artists are contemporaries, insofar as they are artists. They are not contemporaries on matters irrelevant to art. “
Arthur C. Danto, After the end of art, Princeton University Press, 1997 page 94
What a great music is? I think it’s an extraordinary concentration and orchestration of impulses, desires, artistic natures, philosophical, religious, psychological, social and even political ideas and events. And how much greater is the artist, the musician who produces this music the more every note, every gesture, suddenly become current feeling of sensations, feelings, emotions and thoughts. Then the great music can become symbols and joints of potential and possibilities.
Who is responsible for creating, defining, highlight these new possibilities? To reinvigorate a musical text, even hundreds of years after the bones of the author have become dust, to create something new, exciting, which in turn can widen the branches of a wonderful narrative that continues to expand over time?
A man who seeks and finds a new “interpretation”, to those who can get out of the borders of the reproduction of “representation” to revolutionize a narrative of which it is believed a, potential successor. The Interpreter.
Bach and his (great) music are the “mirrors” in which each interpreter can not only compete but they are also intimately real parameters, the indices with which to test their skills executive, interpretive, creative and nature of his art .
The complexity and depth of Bach music is such that his scores always return a number of information more than enough to avoid every time of having to be interpreted in a univocal way.
In addition, his transcripts seem to reject clearly one of the modernist imperatives that any art which remain in scope and limits of their own medium and not to usurp the prerogatives of others. The structure of Bach’s music afford to leave the paths provided by the instruments for which it was originally conceived. Each of his musical process seems to have the qualities that enable him to be also performed by other instruments, once you find the interpreter able to solve technical problems quota and then know how to present a new vision, different, coherent and concrete.
I was struck by the fact that Emanuele Segre, a Master of the classical guitar, wanted to record the Suite BWV 995, BWV 997 and Prelude, Fugue and Allegro BWV 998 only now, after having turned fifty. It reminds me of another great guitarist, Argentina’s Pablo Marquez, when he remembered how he had waited and meditated twenty years before recording music by Luys de Narvaez in his CD “Music of the Delphin” in 2007. A creative process different from to Glenn Gould, for example, but not less interesting. Segre here seems to want to closely investigate the possibilities made available to him by his classical guitar: exploration seems to be the buzzword that emerges from these his “interpretations”, where each bloom is finely chiseled.
The result that comes out of this CD, the fingers and the strings of the instrument Emanuele Segre, in my opinion, is absolutely relevant to the structural diversity of the current Babel of artistic conversations, without any conversion point. They dispereranno researchers of the absolute truth. I are intimately happy.
This record shows an excellent recording quality, in a truly luxurious edition with CD and DVD in a limited edition of 500 copies. So, hurry up.
– Gavottes I
– Gavottes II
Suite BWV 997
– Gigue et Double
Prelude, Fugue and Allegro BWV 998