About this Artist

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Editorial Reviews

All anyone who already knows these recordings can say is, "Good to see you again, old friend." And all anyone who doesn't already know these recordings should say is "how soon can I hear them?" So how good are John Williams' 1975 recordings of Bach's "Lute Suites" arranged for guitar, really? Really, they're the acme, the apex, the zenith, the top of the heap of Bach on the guitar. They always have been and they always will be. What makes them so good? Let's start with the easy stuff. Williams' technique is flawless, actually flawless. He never plays a wrote note, never fluffs a rhythm, never slurs a phrase, and never fails to articulate Bach's counterpoint with absolute clarity and complete lucidity. Then there's Williams' astounding ability to sustain every line of counterpoint and make it sing like a robin at the crack of dawn. Then there's Williams' astonishing ability to add nuances of color and subtleties of shading that shouldn't be possible on an acoustic guitar. But above and beyond them all is Williams' transcendental ability to express Bach's profundity of inspiration with almost spiritual intensity. Captured in Columbia's brilliant stereo sound, Williams' guitar sounds as real as the warmth of the sun. How soon can you hear them? James Leonard, All Music Guide

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