Or to write it in musical terms || ripetizione liberamente e in eterno.
#Bach compositions for guitar series#
So CG players and lute players stick with selections from the series BWV 995 to 1012, over and over and over again. Why? Because they don't work very well (or at all) on guitar, that's why. Uhm, I'd postulate the answer is "the dozens and dozens of OTHER Bach pieces which no one plays on guitar".
Bach himself was an ardent transcriber of his own music and that of others! Therefore transcriptions of the Master’s works are common, today as they were in Bach’s time. Bach’s music is often described as indestructible, in the sense that no matter how it is performed, or in whichever arrangement, its essential spirit survives.The closest chordophone instrument to Bach was the baroque lute, an instrument that the genius from Eisenach had among his instruments but probably did not play. The guitar as we know it did not exist in Bach's time - there was the baroque guitar, but it was not widespread in Germany.The attention paid to the examination of these elements acts as a counterpoint to the personal taste of the performer.’ Il corriere musicale
#Bach compositions for guitar how to#
‘Attademo overcomes these obstacles in a brilliant and original way, treating the score in an extremely rigorous but always musical way… It is clear that Attademo pondered deeply how to make this landmark recording… making the essence of this music resonate in all its fullness. Than the form for organ which is now universally known.Īttademo contributes a personal introduction to the album which explains his choice of repertoire and interpretative approach, taking inspiration from great Bach players of the past such as Mstislav Rostropovich and Dinu Lipatti. Grandest and most superficially complex of the works here, the famous D minor Toccata and Fugue proves highly idiomatic on the guitar, relating the virtuosic and extrovert writing back to what we now think must be a lost violin original for the piece (possibly not even by Bach) rather These pairs only serve to underline the variety of Bach’s response to a particular genre. The recital includes several stimulating pairs: the Aria from the Goldbergs with the Air from the Third Orchestral Suite Gavottes from the Sixth Cello Suite and E major Violin Partita the Siciliano from the G minor solo sonata for violin preceding the more famous flute example. On this new recording he turns to pieces originally conceived for cello (the Preludio of the First Cello Suite), violin (the Chaconne from the D minor Partita), harpsichord (the Aria from the Goldberg Variations) and flute (the Siciliano from theE flat major Sonata) which have gained iconic status in the three centuries since their composition for their surface simplicity and expressive depth. Luigi Attademo recorded all of Bach’s lute music a decade ago on a 2CD Brilliant Classics album (94294) which attracted glowing reviews in the international press for the combined rigour and imagination of his playing. A newly recorded collection of highlights from Bach’s great corpus of instrumental writing, in transcriptions by Luigi Attademo himself.īach left us a few isolated pieces and suites for the lute, predecessor of the guitar, but guitarists have always found the rest of his music as amenable to adaptation as every other musician.
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