lobistat.blogg.se - Transcriptions by bach

These lucid transcriptions certainly bring new clarity to Bach’s endless invention.ĭespite preserving the predominantly single line of the original versions, the warmth of the piano sound and register rich in overtones (further blessed by subtly sustained resonance) reveals the harmonic architecture of the pieces with freshly polished coherence.Ĭertainly there are moments listening to this where I miss the vibrato and expressive dynamic control within a long note that great cellists have imbued these pieces with. These admirably accurate transcriptions reveal the mysterious mathematical grace and flexibility of structure that makes Bach’s art so organic and eternal.” So what of the results? “Bindman has avoided embellishing these iconic pieces, preserving the intriguing ambiguities in Bach’s implied harmonies and savouring their expressive qualities through the baritone register of a marvellous Bösendorfer piano. Hers is a markedly different and radical approach as the publicity puts it:

Over the years others have transcribed them for solo violin, viola, double bass, viola da gamba, mandolin, marimba, classical guitar, recorder, flute, electric bass, horn, saxophone, clarinet, bassoon, trumpet, trombone, euphonium, tuba, and even the ukulele.īut what of the piano? Arrangements have variously been made by Raff, Godowsky and Siloti, but as Bindman notes in her essay, these versions considerably embellish and add to Bach’s original design. Bach himself transcribed the fifth suite for the lute, BWV 995. The Cello Suites have long been among the most popular works for that instrument, creating much interest in transcriptions for other instruments.

Other dance (Menuets, Bourrées, Gavottes).

In common with Bach’s keyboard Partitas and the English Suites, each of the Cello Suites has six movements following a standardised formula of dance movements: It is generally agreed that they date from his period serving as Kapellmeister in Köthen between 1717-23, and it has been suggested by scholars that they predate the six solo violin partitas, which appeared in 1720. The exact provenance of Bach’s six cello suites BWV 1007-12 remains something of a mystery. Listening to Bindman’s recording, I was immediately struck by the mellifluous beauty and sensitivity of her renditions of these iconic cello works that she has transcribed them so well and plays them with such assurance, grace and finesse makes this 2CD set an easy choice for my Recording of the Month…

And not only then: Bach’s music in particular has of course been the subject of many excellent transcriptions over the last three centuries. As Bindman points out in her fascinating CD booklet essay, Bach himself regularly transcribed his works originally intended for one instrument so that they could be performed on another, as well as making arrangements of the music of other composers.Īnd indeed, this was a standard practice in the Baroque era.