Despite this latter designation, the NBA KB gives a number of reasons why this work was composed for the Baroque lute specifically. Printed Editions of BWV 1.
Roitzsch Peters Nouvelle Edition 3. Franz Julius Giesbert , intabulation, private printing 6. Hans Dagobert Bruger and Emund Wensiecki arrangements for a modern course bass lute or guitar. Only a few of the most important ones will be reported here. The title was added much later by C. The title page reads: Partita al Liuto. Composta dal Sigre J. Sebastian Bach. Many of the remaining manuscript copies are from the late 18 th or early 19 th century. There is a complicated stemma to explain all the possible relationships between the various copies.
There are two versions of the fugue that had to be resolved. BWV , however, can be compared favorably as based upon its superior musical quality with another work from the same period not much earlier than , BWV Some experts have held that there originally was a 3-mvt. Some questions regarding the unusual notation irregularity in the range of notes used, etc. A very detailed and complicated discussion follows. Bach after the death of his father. It is not mentioned in C. It is not certain that it was included in the collection of the Three Partitas for Lute mentioned in the Breitkopf catalogues of and Philipp Spitta confirms that the autograph belonged to Henry Huth in London.
In it was purchased by Karl Vietinghoff from Berlin. Since it has appeared at various times and places where autographs were being sold and purchased: J. To save space writes mm. The time of composition can only be limited to the period from Bach made some additions to this copy. With the exception of the first mvt. Stylistically, the da-capo fugue also points to the time circa ; cf. Roitzsch revised this edition based on the autograph for the new Peters Edition.
Bach P The only source is a copy by Johann Peter Kellner contained in a collection of manuscripts from his estate. This copy is dated based upon the other dated manuscripts in the collection. This would put the date of this copy, and very likely the date of actual composition, at the middle of the s. Bachs Lautenkompositionen , Bach-Jahrbuch, , pp. Here it was No. The BG 36 Ernst Naumann also presented this piece as a work for piano.
Bruger, Giesbert and others eventually published it as a composition for lute see above. An arrangement for lute is BWV is considered of higher quality and appears to be more genuinely a Bach arrangement, although it is likely that Weyrauch may well have played a role in the transcription.
The only thing that can be stated as a certainty is that date of this lute arrangement and its copy would have to be after , the date for the original violin solo source. In the printed Guitar Solo catalogue , Bach is heavily represented. The editor includes an account and photos of the lute-harpsichord, photos of contemporary lutes, a complete set of facsimiles, a study of sources and advice on ornamentation and rhythmic alteration. In , the Munich guitar society invited the young guitarists Andres Segovia and Miguel Llobet to play a concert.
At that time, he had just made his first guitar on a model by Stauffer, designed by Legnani. Guitar by Hermann Hauser with Lautenmacher label.
Segovia did not play suites in their entirety, but preferred to select movements that fit well with his programming. In , Walter Gerwig used a ten-course lute in Renaissance tuning to record a large number of the pieces, as well as the first of the Cello Suites and other baroque lute music. In he made what may fairly be called one of most widely-heard and influential recordings of Bach, titled Lute Suites I and II.
On one of his last Bach recordings, he re-recorded BWV and In , German-Swiss lutenist Eugen Mueller-Dombois recorded an arrangement of the Suite pour la Luth with a fourteen-course instrument in the standard 18 th Century tuning which rationalized the tablature version of Falckenhagen with the Bach MS version. Another of his recordings was the first to use the lute for BWV in the original key of E flat. Dombois also wrote two articles for The Lute Society contending that though the Prelude is playable on the lute, both the Fugue and Allegro contains numerous technical impossibilities, making them more likely to be for lute-harpsichord.
Yepes had previously made recording of some of the pieces on the ten-string guitar and he made his lute version with alterations to the text and anachronistic guitar-style tunings. An e-mail correspondent familiar with the matter informed me that Yepes was uncomfortable playing the lute and was not happy with the recording.
This is the apogee of the Lute Suites of Bach portrayal. At the time the recording companies, not yet the now—familiar media conglomerates, noticed that sales of vinyl records were declining. For a while it worked—until they invented the compact disc. There are now several makers, and a number of prominent early keyboard specialists associated with it, including Kim Heindl, Christiane Jaccotett and Robert Hill.
Like the theorbo or larger lutes, the response and damping is not immediate. With the use of leather plectra, there is some dynamic control, unavailable on the harpsichord. Beginning around , Hopkinson Smith, Konrad Junghanel and Lutz Kirkhof all issued complete recordings on the baroque lute and more have appeared since. You would think that this development strengthens the case for a Bach lute works viewpoint, but closer examination reveals that these recordings of necessity have made use of transpositions, simplifications and altered tunings to make the works better fit the lute.
One may find many editions easily in a few minutes in pdf or jpg format, including facsimiles, early BG and NBA editions, Bruger, Bream and many others. There are plenty of Bach arrangements for the guitar.
There are lute arrangements of these pieces and the Cello and Violin solo music for the lute, including my own. Unlike the many printed editions and the long-gone articles I have surveyed, the internet may offer a glimmer of hope for a better understanding of the problems with Bach as a lute composer that I have detailed in this essay.
With your help, maybe the idea will go viral. Go ahead and enjoy the suites and pieces without clinging to the belief that Bach wrote them for the lute. One day a distinguished musician came to visit the Bach household in Leipzig. A few letters had passed between them, and Bach, being a sociable and engaging host, asked Weiss whether he would like to spend a few hours with the Cantor. Bach was something of a practical joker. He enjoyed the broad peasant humour of the German people, he loved puns, and he often wrote funny things into his music.
You can almost hear him snickering over the score. He decided to play a little joke on Weiss. Meeting him at the door, he said:. I used to fool around on it when I was a Bub , but the instrument always confounded me—all those strings! With that he repaired to his composition room and went behind a sun-bleached and stained old curtain that he had dividing the rooms, to keep his family out while composing. The rule was that when Papa was behind the curtain, he was not to be disturbed.
After a bit of tuning and few odd notes and chords the most fantastic uninterrupted veil of note-perfect lute-playing erupted. Weiss instantly recognized the signature tune of every student violinist in Saxony—the Prelude of the E major violin Partita. That piece quickly concluded, Bach began playing something entirely new.
Weiss expected him to stop, but the flow never ceased. The prelude let to a complex fugue, then to a rousing allegro with an impossibly difficult and treacherous bass line. As the last notes died away, Weiss, listening with growing agitation, was plainly aghast.
How was it possible? Weiss was dumbfounded. Finally, the portly master drew aside the curtain. Weiss, true to his name, turned the colour of a sheet, and let out a sigh: He had been duped utterly. Thomas Schule. Again, a big thank you to Clive for this epic article previously published on Classical Guitar Canada.
Which instrument was intended? That piece quickly concluded, Bach began playing something entirely new. Share on facebook twitter tumblr. Ledbetter focuses here on passages that are, incidentally, problematic on the guitar bouzouki. A big thank you to Clive for this epic article previously published on Classical Guitar Canada. You can almost hear him snickering over the score. Since it has appeared at various times and places where autographs were being sold and purchased: J.
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But generally you should read this text with caution: There is some misinformation, incomplete information and assumptions without evidence! The picture above is from the Gerber-MS. Schulze on evidence of a handwriting-analysis. This site uses Akismet to reduce spam. Learn how your comment data is processed. Part I As student guitarists, we learned that J. Briefly, my argument runs like this: Over a period of years and in a mood to experiment, Bach writes thin-textured music for his own use on a gut-strung keyboard instrument or clavichord.
With the arrival of an enlarged and improved instrument, he adapts favourite earlier material to it. Most of his music remains in hand-copied versions MSS in his lifetime. The music is first indexed, edited and published by the Bach Gesellschaft in the 19th Century as keyboard music.
Suite in C minor, BWV (Bach, Johann Sebastian) . RISM Contains as well BWV , BWV and a Praeludium not included in the BWV. Results 1 - 10 of 18 This page lists all sheet music of Lute Suite No. 2 in C minor, BWV by Johann Sebastian Bach ().
The following other wikis use this file: Usage on bar. Software used Xiph. Org libVorbis I The Al Goldstein collection in the Pandora Music repository at ibiblio. Johann Sebastian Bach composer , Martha Goldstein musician. Permission Reusing this file.