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(Engadine Post 13th August 2005 (from Ingelore Balzer)
Encounter with a Fabulous Guitarist
A Swiss Maestro on the Plucked Six-String Instrument […]
Guitarist Christoph Denoth [...] touched [...] the hearts of all those who love Classical music and, above all, the guitar with a truly remarkable programme.
In William Shakespeare’s days, bass viol and lute music, highly cultivated in Court circles, flourished and John Dowland (1563–1626) was one of the most talented main representatives of this musical Renaissance. Around 1594, the composer published a booklet from which Denoth presented three charming pieces whose tunes are simply elegant and beautiful. [...]
The interpretersensitively shaped theShoemakers Wife as well as The Frog Gaillard, and Fancy and showed the most diverse variations to advantage – from open and merry to hushed and sweetly flattering.
The subsequent excursion into the Baroque world of music was dedicated to great maestro Johann Sebastian Bach (1685–1750), whose wealth of musical thought can only be suitably expressed by a virtuoso playing of the interpreter. Perfectly lovely here the colours and nuances Denoth managed to create and how carefully and enthusiastically he addressed the changing temperaments of the individual movements. [...]
Great Compositions from Spain and Cuba
Spanish musician Fernando Sor (1778—1839) [...] is a “figurehead” of 19th-century guitar music with his probably most famous work [...]: the Mozart Variations. [...] Here, the interpreter once again managed to create an enormous tension and present the special facets of the individual variations in a vivid, sensual, and lively approach. [...]
More recent musical perspectives [included] Leo Brouwer, the guitarist who was a special pioneer of avant-garde music in Cuba. Denoth showed a delicate sense of tonal colour [...] and technical brilliance with these pieces, too [...].
With his stupendous dexterity, he also presented a wonderful interpretation of Manuel de Falla (1876–1946), but the actual highlight of the evening was Christoph Denoth’s presentation of three movements by composer Isaac Albéniz (1860–1909), in which rhythmically intense, Andalusian national colouring positively sparkled. Exquisite sounds were elicited from the strings, resembling a golden thread artfully cast to again and again weave into undreamt of and impressive musical imagery [...].
The audience will most certainly never forget the fabulous guitarist’s magnificent sound images [...].
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