That was no doubt the most special moment in my guitar practice for the past few weeks. I have been just focussing on one of the movements in Bach's BWV 1006a, the Gavotte en Rondeau in particuar and it is basically a Rondo with the structure ABACADAEA. Of course, for those who are familiar with the piece will not have any problem with recognising that subsidiary theme E is the climax of the whole movement. But I had a special revelation when I was studying the subsidiary theme D. Bach has wonderfully masked such intense emotions within this playful rondeau. After listening to all of my professional recordings, it was really only those who didn't play in the traditional détaché baroque style that brought the exquisite beauty of the section out. The intense heartaching sensation in the modulation to F# minor in that section really got my adrenalin in my body rushing. From my observation in the facsimile version, if Bach hadn't written extensive slurs in that portion, I suspect even lesser people would have discovered such a heartwrenching beauty. It isn't just playing according to Bach's phrasing but also due to the rich harmonic structure when the basses are deliberately sustained.
Goran Sollscher has managed to capture such this gem in her fullest glory, whereas for the other guitarists, the intensity of this emotion has been reduced significantly due to the lack of sustenance in the basses in that particular segment of the theme. As for the violin recordings, I'm baffled by the absence of the basses in just those few short bars. Yes, the basic mood of the theme was there, but I really thought that it is the basses in the few particular bars of the theme which brings the theme to a climax. Did Bach leave the basses out in the violin version of it due to technical constraints of the violins? Probably so, but I certainly gained so much by studying into the intricate musical details of this movement.