Jason Vieaux: Bach, Volume 2: Works for Violin (CD review)

by Karl Nehring

Partita No. 3 in E Major, BWV 1006 9 (Lute Suite No. 4); Sonata No. 3 in C Major, BWV 1005; Sonata No.1 in G minor, BWV 1001. Jason Vieaux, guitar. Azica Records ACD-71347

One of the first questions that springs to mind when encountering a Volume 2 of anything is, “what about Volume 1?” In the case of this new release from the American guitarist Jason Vieaux (b. 1973), you won’t have to wait long for the answer, for here is how he kicks off his liner note essay: “So, ‘Bach Volme 2'… this would indicate there was some kind of a ‘Volume 1,’ right?... some background is needed for anyone who cares to read about the genesis of this particular release. Indeed it’s been well over a decade since the 2009 issue of three lute works of Johann Sebastian Bach (1685-1750), Bach Vol. 1, Works for Lute, was out on Azica. The idea Azica and I had back then was that there would eventually be a Volume 2, which would complete the ‘lute’ set by making a ‘violin’ record that included BWV 1006, which is both the 3rd Violin Partita and the 4th Lute Suite. Well, ‘eventually’ turned out to be about 13 years, 2 kids, 700 more gigs, and over 8 hours of commercial releases later.”

Although I did wonder a bit myself about Volume 1, having never encountered it, I was already familiar with Vieaux’s playing, having first discovered him on a CD he had released well before Bach Volume 1, his marvelous collection of music by jazz guitarist Pat Metheny, titled Images of Metheny (Azica ACD 71233). That recording from 2005 includes 13 Metheny compositions that Vieaux interprets on classical guitar, including five songs Vieaux arranged into the form of a baroque suite. It’s a real gem of a recording that should appeal to appeal to jazz and classical guitar fans alike, well worth tracking down. Years later, Metheny returned the compliment, dedicating a composition for solo classical guitar titled Four Paths of Light to Vieaux and inviting Vieaux to record it for inclusion on Metheny’s 2021 album Road to the Sun (reviewed here), an album that marked Metheny’s first foray into classical composition.

Jason Vieaux
Jason Vieaux
But back to 2022 (if only briefly – I am writing this review on December 30!) and Volume 2, which, to put it briefly, is an unalloyed delight. It opens with the aforementioned BWV 1006, which served as both a violin partita and a lute suite. (As an aside, when I streamed the album in my car, it showed up on my touchscreen as “Lute Suite,” which brought back a memory from my grad school days, when while working a part-time job as a security guard at a firm that made support equipment for the computer industry, I became acquainted with a charming woman named Clara O’Dette who was in fact the mother of the internationally renowned lutenist Paul O’Dette – but I digress, and no, I never did get to meet Paul, alas.) The music has that infectious energy that Bach can so effortlessly conjure, and Vieaux’s playing communicates the spirit of it in spades. The Sonata No. 3 that follows opens with an Adagio that ushers in a shift in mood that calms the spirit. Vieaux is as effective in these slower passages as he is in the faster passages at maintaining a sense of movement and keeping the music moving with his nimble fingers. Likewise throughout Sonata No. 1, which is in a minor key and which has perhaps a slightly more wistful cast to it, Vieaux draws us deeply into the music. Bach was a true master of communicating so much depth of feeling through such seemingly simple means, while Vieaux is a true master of his chosen instrument of expression, the classical guitar. His playing is clean, straightforward, but powerful.

Unusually enough, I actually heard this recording through both my previous and current pair of loudspeakers. Most of my listening was done in my own system (for a more complete description, please see my brief biographical sketch below) to the CD through my new pair of Legacy Audio Focus SE loudspeakers, which I purchased in October, 2022. However, I was recently able to listen to a high-resolution streamed version of the album in the system of a friend to whom I had sold my previous pair of Focus SEs. The sound was great in both locations, but slightly more, uh, focused in my listening room, a function not so much of the newer speakers themselves but rather of speaker and seating placement. Not to worry, this is a well-engineered release that should delight lovers of Bach’s music, of whom I am more than confident that there plenty of you out there. Enjoy!

Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa