Intimate show was a triumph
Sean Shibe’s intimate guitar recital on Tuesday, October 19 in Perth Concert Hall was a triumph of artistry and clarity.
On the lute he played a variety of pieces from historic manuscripts, beginning with sprightly dances, becoming more song- based, then ceremonial and processional.
Non-scriptural though wonderfully effective, was his evocative use of harmonics
The sixth seemed a lilting variant of a better-known tune, the next melancholic, finally returning to the vocal for the last item. Having carefully tuned his beautiful instrument, the run of pieces was not disturbed by the bane of most lutenists – having to constantly and at length retune.
Changing to a finely resonant guitar, he next gave six examples from the 17th century Wemyss commonplace book, compiled in Fife. Immediately the greater resonance and depth of the guitar was obvious, moving to what sounded like a love lilt in the third, non-scriptural though wonderfully effective, was his evocative use of harmonics. The fourth had a catchy twang and good use of bass notes. Then finally the plangent fifth and gentle sixth pieces.
Sean Shibe genially explained JS Bach’s Lute Suite in e minor BWV996 as almost certainly not written for the lute but a particular stop ( Lautenwerck) on a harpsichord.
After the start of the Prelude, to orient the fingers, came a faster, fluent section, then the sequence of dances: flowingly hypnotic, then proud, a sarabande full of emotion, then the dance driving on in the Bourée and Gigue.
Turning to the much more modern, Mompou’s Suite
Compostelana ended the written programme, avoiding easy Spanishry these pieces were again played with affecting style, only the final joyous dance having a little rasgueado.
As encore, much to the appreciation of the Perth Concert Hall audience, Sean Shibe gave a most felt performance of Peter Maxwell Davies’ Farewell to Stromness.