Bach compositions for guitar1/17/2024 The guitar version involves additional hardships, such as the transcription for a modern instrument in general and, in particular, achieving idiomatic solutions for articulations problems caused by the fundamental difference between keyboard and plucked instruments. It requires crossed hands, with double and chord trills. The original version of the Goldberg Variations, written for harpsichord, is a highly taxing piece for any performer. Overall Difficulty: Intermediate.īy Johann Sebastian Bach transcribed by Michael Lorimerīach's impressive sequence of variations, known to us as the "Goldberg Variations," was written for a keyboard instrument about 1741 as the 4th part of "Clavier Übung." Allegedly, it was intended to be performed by Johann Gottlieb Goldberg. The companion CD included contains Suites 1-3 only. Written in standard notation in guitar-friendly keys. Furthermore, the author offers comments on his arranging process and suggestions on using this edition including: ornamentation, slurs, fingerings, notation, and implementation of the comparison scores. This definitive work includes performance scores, comparison scores and an invaluable 40-page guide entitled Arranging, Interpreting, and Performing the Music of J.S. It is this debate that prompted this long-awaited edition of Bach's unaccompanied cello suites by scholar and concert guitarists Stanley Yates. Despite the respect that this music commands among musicians and audiences debate still exists as to what constitutes an appropriate means of transcribing, interpreting and performing this music on the guitar. Garcia lyrical performance does them full justice, sensitive to the multilayered voicing and elegancy of Tansman’s harmonic progressions (The fourth ‘passacaille’ movement is especially attractive) Cristiano Poli Cappelli’s version (Brilliant Classics, 2016) sounds stressed and rushed in comparison.Although Johann Sebastian Bach did not write any music for the guitar, transcriptions of his unaccompanied string music and music for lute have long been a part of the guitar repertoire. 5”, originally written for soprano and orchestra of Cellos.Īlexandre Tansman (1897-1986), today a rather forgotten music figure, wrote some lovely pieces for guitar and his “Inventions” clearly take their cue from Bach’s suites movements. The two give another persuasive version for guitar and voice for Villa Lobos’ “Bachianas brasileiras No. The arrangement for guitar and voice (again by Garcia) works remarkably well, with Dresig beautifully reaches the highlights of this short vocal piece without sounding forceful nor covering up the delicate guitar accompaniment. His version of La Catedral not only surpasses the famous John Williams, Sharon Isbin and Göran Söllscher versions, but in the final, difficult fast movement, even surpasses the version by the composer himself.Īfter the Chaconne, soprano Elsa Dresig joins Garcia in Charles Gounod’s Ave Maria, based on Bach’s first prelude from the well tempered clavier (book I). This is a sweet, pure yet penetrating tone that is a virtuosity by itself, and is consistent throughout the album. Garcia remarkably achieves the most subtle nuances and phrasing practices within the quietest, almost whispering volume. Garcia’s beautiful tone and control of colouring is in full display in the first piece in the album – the deeply moving “La Catedral” by the Paraguayan composer and master guitarist Agustín Barrios. The new album, called “ Bach Inspirations”, contains, besides Bach, music by 5 other composers, all incorporating some form of internal dialogue with the German master. He is not shy of adding some ornaments and small additions, making it sound much more natural and appropriate on the guitar. Thibaut Garcia arranged this masterpiece for classic guitar, and is the most effective in conveying this endlessly moving work. There seem to be a renewed fascination with adaptations to Bach’s Chaconne from the second Violin Partita, and interestingly enough, not the famous Busoni adaptation We recently had a performance by Igor Levit playing the Brahms’ left hand adaptation, and Thomas Dunford’s own for the lute.
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