Bach, J S: Lute Suite No. 1 in E minor, BWV996

Bach’s genius is intimately linked to the keyboard instruments of his time. Throughout his life, he never stopped composing for the organ and harpsichord. This CD is a re-issue of the exceptional recording of Dom Laberge, Abbot of the Benedictine Abbey of Saint-Benoît-du-Lac.

The Suite in E Minor and the Suite in C Minor, composed sometime between 1707–17 and 1740–41 respectively, have been the subject of a great deal of speculation since no manuscripts of the works in Bach’s hand have been discovered. Nevertheless, scholars are agreed that the suites really were composed by Johann Sebastian Bach though whether he actually intended them for the lute is still a matter for discussion. Perhaps Bach himself would not have expended much time on such speculation since he freely transcribed his works for different instruments often shifting to keys that best suited the intended instrument.

“Having now worked so intensively with Bach’s music in preparing this recording, I have again been reminded that his compositions constantly offer new discoveries. And this is one of the reasons why it is so rewarding to return yet again to his music, however familiar we may believe that we are with it.” Georg Gulyás

Flash is Claire’s second recording for Tall Poppies - a charming compilation of miniatures for the marimba. Inspired by her formative musical years as a pianist and her two young daughters, Claire has chosen a program of new and transcribed gems for the mellow sonorities of the grand five octave marimba. The Australian works have, in the most part, been written especially for the project, and these sit cheek-by-jowl with transcriptions of well-known children’s piano pieces by Bach, Bartók, Corea, Kabalevsky, Schumann and Tchaikovsky. New works for the marimba have been written by Claire’s long-term friends and collaborators Elena Kats-Chernin, Stuart Greenbaum, Andrea Keller, Daniel Rojas and Matthew Hindson - their works are true gifts to Claire, marimba players of the future and future listeners of this CD.

J.S. Bach composed no original works for guitar, and although several compositions for lute have been attributed to him, his interest in this expressive instrument appears to have been rather limited, possibly because his mastery and knowledge of it was less extensive than of other instruments, such as the violin and keyboard. However, the 20th century still witnessed an increasing interest in the possibility of performing Bach’s music on the guitar.

It was in the late 1920s that Andrés Segovia recorded the Courante of the 3rd Cello Suite, and he followed this with the Chaconne from the Partita No.2 for solo violin, later recording the entire work. Julian Bream and Narciso Yepes also made recordings on the guitar of Bach’s music, but it was John Williams who eventually recorded the complete works for lute. These discs focus particularly on Bach’s Suites for lute – including BWV996, now attributed to his pupil J.L. Krebs.

Also included is the complete Partita No.2 for solo violin. To ensure that questions of interpretation were considered thoroughly, these recordings were made following extensive study of 18th century performance practice, as well as secondary sources that discuss how Bach’s music was originally played.

Booklet note.

Recording made in 2009–2010.

Attademo has also recorded Scarlatti’s Sonatas for Guitar for Brilliant Classics (9125).