Bach in Brazil remastered. HEAR NOW
Bach in Brazil remastered and re-released for today’s audiophile classical guitar listener.
Remastered and re-released for today’s audiophile classical guitar listener, “Bach in Brazil” is a beautiful recorded collection of some of the finest repertoire for classical guitar. Played by guitarist Gordon Kreplin, the recording received rave reviews on original release! Enjoy works by Venezuelan guitarist and composer Antonio Lauro, Brazilian composer Heitor Villa Lobos, and Baroque-era German composer Johann Sebastian Bach.
The Making of Bach in Brazil
This recording was done on location at St.John’s Episcopal Church in Broad Creek Maryland and at Edenton United Methodist Church in North Carolina during the spring of 1995. In order to accommodate the charming but intrusive voices from the natural and not so natural world, these recordings were made between 2 and 4 AM. St. John’s is a colonial church that George Washington attended from time to time. It is surrounded by 17th and 18th century gravesites, including those under the floor, so we never really felt alone during our sessions.
The Repertoire on Bach in Brazil
Heitor Villa-Lobos considered Bach’s music to be a source of universal folklore and a link that united all peoples. Bach’s treatment of dance forms in the Baroque “classical suite” is a good example — the core movements of the suite reflect diverse cultural traditions throughout Europe. The music of Villa-Lobos was a synthesis of Brazilian folkloric idioms and European stylistic traditions- he felt an affinity for Bach’s work and his music often reflected aspects of Bach’s musical style. Antonio Lauro, like Villa-Lobos, wrote in a style that combined his own folk traditions of Venezuela with European forms and harmony. Lauro, like Bach, wrote stylized dance forms that echoed diverse cultural traditions. All three composers featured on this CD shared an interest in the process of stylizing folk idioms to create or perfect evolving art forms.
About the Artist – Guitarist Gordon Kreplin
Gordon Kreplin has performed throughout the US, Spain, Portugal and South America. Critics and audiences alike have experienced his performances as having an easy warmth. His concerts in Spain and South America were sponsored by the United States Information Service (USIS). Kreplin received an A+ rating from the National Endowment for the Arts (NEA) and USIS for touring abroad.
Kreplin’s teachers include Jose Tomas at the Oscar Espla Conservatory (where he studied for two years), Andres Segovia at Musica de Compostela, and John Marlow at American University. Kreplin served for four years in the North Carolina Visiting Artist program. He has taught at various universities in the U.S. Kreplin also taught at El Conservatorio de Horta on the island of Faial in Portugal. He is also Co-Founder and Co-Director of Ascencion Music Academy on the Outer Banks of North Carolina.
What the Critics are Saying
” In Bach in Brazil … Gordon Kreplin has given us something memorable … lingering both on notes and in precious silence … details that make it hard not to become completely absorbed in his play.”Michael Gill (Cleveland) Morning Journal’s ARCADE
“… an amazing guitarist … Kreplin’s playing is organic, lithe, muscular … limpidly beautiful. If you buy one CD this year, let it be this one.”Peter Fay, Washington Review
“I am recommending a … CD called Bach in Brazil … perfect for just about anything …”Brian Soergel, L.A. Jazz Scene
” Kreplin’s solo album Bach in Brazil will grab your attention. It showcases his elegant playing style, fine intonation and good variety of material.”David Steinberg, Albuquerque Journal
“… His playing is warm and easy. He’s one of those instrumentalists who make it all sound so simple that anyone could do it, while moving the listener to keep his CD playing.”Iris Lorenz-Fife, Views from the Coast
The Audiophile Recording Process
The original Bach in Brazil sessions took place in 1995, on location at St. John’s Episcopal church in Broad Creek, MD. Recording engineer Cathy Pescevich (Kreplin) chose Microtech Geffel m295 microphones for the project. Her goal was to capture the sound of Gordon’s instrument with unrivaled naturalness and clarity.