“Classical Guitar Magazine” December 2004.


These are harpsichord suites transcribed for guitar. The Dane Buxtehude (c 1637 – 1707) finds sympathetic and able performance from his compatriot Sørensen and these suites are high quality early baroque, mostly on a very straightforward stylistic and formal model. Sørensen has opted to keep the original keys, which is quite unusual in these circumstances. As a result there is a remarkable amount of very high register in these transcriptions, which at times sounds rather strange, though the player manages to keep the chords largely in tune even at such high altitudes, and throughout the performance shows no apparent sign of technical strain.

Despite being produced by the respected early music specialist Viggo Mangor, the playing style is not especially ‘historical’ in approach. Sørensen uses a 1993 Romanillos and produces a tone which whiles being always musical and decent, is rather clearer than many go for in this kind of repertoire.

Bream’s early publication of a Buxtehude suite did not exactly take off in guitar programmes but with a bit of extra help from recordings like this the dusty old composer could easily compete with Weiss in the second tier of baroque recital choices.


Stephen Kenyon







Frank Jensen, studievært P2.

Hvilken cd ligger øverst i bunken derhjemme?
Det er to guitarplader - hver på sin måde.

….Jimi Hendrix udgivelser på cd……

I en bunke lige ved siden af ligger den danske guitarist Per Dybro Sørensens udgaver for guitar af seks cembalosuiter af Buxtehude - god musik , gode arrangementer, godt indspillet og yderst velspillet. Så der ligger den nok lidt endnu