Bullock Brings Folk and Baroque to St. Alban’s

Review: Robin Bullock Plays Guitar and Mandolin

By Perry Tannenbaum

2020~Robin Bullock @ St. Alban's-13

Watching Robin Bullock with his guitars and mandolin at St. Alban’s Episcopal Church in Davidson wasn’t exactly a first – we had reviewed a previous appearance. Nor can we feign surprise that Bullock’s program included selections from Turlough O’Carolan, J.S. Bach, and Stephen Foster. Bach and O’Carolan were fixtures in Bullock’s 2017 Music @ St. Alban’s concert – and that concert concluded with “Oh, Shenandoah,” which the guitarist called “the American folksong.” What made this concert so different, three years later, were the changes necessitated by COVID-19: the reduced size of the audience and the move to online streaming. Yet the similarities with the 2017 concert and Bullock’s relaxed personality were comforting, reminders that all is not lost and people can work, create, and recreate in the teeth of a resurgent pandemic.

Bullock has recorded an entire album of work by the blind 18th century Irish bard, so it was puzzling that he started off his 2020 concert with “Lord Inchiquin,” one of the two O’Carolan pieces he performed in 2017. Played on a Martin steel string guitar, the piece delivered more bite than might have been extracted from a harp, the instrument O’Carolan usually composed for, and it was heartening to hear applause ringing out from the small audience at St. Alban’s. Subsequent outbursts of applause sounded suspiciously identical, but critics tend toward cynicism. More and more, the pretense of live performance is being discarded in streaming presentations, so a fade-dissolve can now replace the tedium of watching a performer switch from one instrument to another, tuning up, and whatnot. We could rejoin the performance after instrument switches without any awkwardness, and Bullock was sufficiently at ease to deliver his intros while tuning. In fact, the last two songs were done in a single continuous take.

Double intros were necessary for both of Bullock’s next two selections. As a preamble to Foster’s “Oh, Susannah,” Bullock told us how folksinger Tom Paxton had advised him to compile an album of American guitar classics – now available at the guitarist’s website and titled, predictably enough, An American Guitar Album. “Susannah,” Bullock then informed us, was Foster’s first hit, published when the lad was 22. Lamentably, Bullock felt no compulsion to play the verses of this classic as Foster had written them, leaving me to wonder where he had misplaced Susannah’s buckwheat cake, the hill she came down, and the weather. Obviously, he was more enamored with the chorus, where he clung closer to the melody, but Bullock wasn’t exactly kind to the lyric. Each time he played the refrain, he added a syllable to “cry” and “Alabama.”

2020~Robin Bullock @ St. Alban's-8

Switching to mandolin in the blink of an edit, Bullock ventured beyond his CD compilation with the next O’Carolan piece he played, “Carolan’s Concerto,” enhancing the adventure by coupling the harp piece with a movement adapted from Bach’s Cello Suite No. 3, Bouree I and II. Bullock’s finger-picking here, fleet and sure, was more sparsely sprinkled with strums and grace notes, yielding a more discernable melody – and a more harp-like sound – than his previous foray on guitar into the Irishman’s work. The seamless transition into the C Major Cello Suite, easily detected by anyone familiar with the great recordings by Pablo Casals or Yo-Yo Ma, further shored up my confidence that he was not straying far from the original compositions.

If the mandolin didn’t sound quite right for the Cello Suite, Bullock was more discerning in his choices of instruments for the movements excerpted from Bach’s Violin Partita No. 1. Again, this was a piece that does not appear on any of the 21 downloads at Bullock’s online store. The are actually four pairs of movements in this B minor Partita, rooted in French dances, namely the Allemande, Courante, Sarabande, and Bouree. Bullock chose the Sarabande and its complementary Double movement. The rich sound crisp articulation of the Martin guitar was key to Bullock’s most satisfying Bach performance on the languid Sarabande, and his Gibson mandolin meshed beautifully with the speedier Double. Obviously, Bullock wasn’t taking his inspiration from the 2017 account of the Double movement by Christian Tetzlaff, who hardly varies the tempos at all. More likely, Bullock took his cue from recordings by Midori or Gidon Kremer, who also hit the accelerator on the Double.

2020~Robin Bullock @ St. Alban's-4

Favoring one of his custom-made guitars, notable for their wolf paw print insignias on the marker spots along their necks, Bullock now turned to “Westlin Winds,” a tune associated with its Robert Burns lyric. The melody lurked closer to the surface than “Oh, Susannah,” though you couldn’t emerge from the concert knowing either melody unless you had heard it before. Yet the arrangement was quite lovely, soaring up to the treble for some unexpectedly ethereal interpolations after its folksy beginning, probably more woodsy than windy but vividly capturing the autumnal scent of Burns’s lyric.

Having primed us earlier with Foster’s first classic, Bullock left us with “Beautiful Dreamer,” said to be his valedictory song. In his intro, the guitarist spoke of the serenity and acceptance he found in both the melody and the lyric, hinting that it could be construed as a voice from beyond calling to the songwriter, who died at the age of 37, even younger than Burns. While the textual analysis that Bullock offered hits a road hazard when it runs into “queen of my song,” his oral reading of the lyric and his instrumental adoration of the melody were luminous and sublime. There was little ornament here, and the variant chords that Bullock imposed on the melody after his opening chorus added poignancy and a country music flavor – clarifying for me why the slightly cowboy-tinged recording I found on Spotify by Marty Robbins far outshone the more elaborate arrangement sung by Bing Crosby. Especially moving was the beginning of the final chorus, where the guitarist slowed down and hushed to a whisper, as if he might not be able to continue. We’ve had a painful amount of this kind of serenity over the past eight months, and perhaps in that moment, Bullock felt an inrush of solemnity amid the serene.

 

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