Bach, J S: Lute Suite No. 2 in C minor, BWV997

"There is something abnormal in almost all Bach's flute sonatas', wrote Frans Brüggen in the booklet note for his recording of these pieces in 1976. It is true that the flute sonatas do not constitute a homogeneous corpus within the composer's output. Each of his pieces for flute corresponds to a different creative period, and Bach did not take the trouble to assemble them in a single manuscript." Hugo Reyne March 2009

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

It was Francisco Tárrega, composer and guitarist, who first transcribed Bach’s music for his own instrument, offering colour, tonal variety and clarity in an exploration of counterpoint. Tristan Manoukian’s transcription of the Partita No. 2 honours the precedent in its virtuosic and expressive writing. It is possible that the Suite and the Prelude, Fugue and Allegro were originally conceived for the so-called “lute-harpsichord”, a keyboard strung with gut that sounded like a lute. Bach’s version of Vivaldi’s Violin Concerto transforms and refashions it, and the guitar transcription is perfectly suited to convey the richness of its invention. Prizewinning guitarist Judicaël Perroy is one of the most exciting talents to have emerged in years.

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).

Bonavita writes of Bach’s music: “It is the sound of intelligence and spirit, of creativity and meditation, of the balance between freedom and the rules which must be broken when necessary in order to reach new territory, the place where musical notes find what is essential, where nothing seems to be missing and nothing is superfluous, where there is just music.” Here are his beautiful interpretations.

The title of this CD has been chosen because in the words of Luca Panca, “the composers which we have selected are truly musical giants.” As a principal harpist, Margret Köll has worked with the Munich Symphony Orchestra, the Schleswig-Holstein Music Festival Orchestra and the Philharmonie der Nationen and has played in various ensembles.

Johann Sebastian Bach wrote music for the lute throughout his career. He had in his possession not only a lute but also two lute-harpsichords (Lautenwerke), gut-strung keyboard instruments allowing a fuller range of sound than the normal lute. For the present recording Elizabeth Farr plays a lute-harpsichord reconstructed by Keith Hill from Bach’s own specification for one of his two instruments. Elizabeth Farr has been the recipient of many awards for her early music playing, including first prize in the Magnum Opus Harpsichord Competition in Michigan.