Category ies Ancient music Rarities. Instrument s Guitar Lute. Main Composer Johann Sebastian Bach. The seven compositions for lute by Johann Sebastian Bach are lonely pinnacles among the European works written for this instrument in the last years of the late Baroque Period. Four of them were actually conceived for the lute, while the three remaining ones are transcriptions or arrangements of works for solo violin or cello.
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Genre Categories Suites ; For lute ; Scores featuring the lute ; For 1 player ; For harp arr ; For 1 player arr ; Scores featuring the harp arr ; For harpsichord arr ; Scores featuring the harpsichord arr ; For guitar arr ; Scores featuring the guitar arr ; For viola damore arr ; Scores featuring the viola damore arr ; For cello arr ; Scores featuring the cello arr ; For keyboard arr ; Scores featuring keyboard soloists arr Related Works Bach's own arrangement of his Cello Suite No.
Editor Hans Dagobert Bruger — Editor Daniele Russo. Arranger Robin Ward. Arranger Elaine Fine. Arranger R. Arranger Don Simons. This is a fairly literal typesetting of the autograph facsimile, but in treble and bass clef only on two staves.
It is intended to be played on a keyboard intrument. Bach, Johann Sebastian.
(2000) Bach: Suites BWV 995 & BWV 1006a
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Suite in G minor, BWV 995
Written between the spring of and the winter of , this extraordinary Lute Suite exists in another version, as the Cello Suite No. It appears that the cello version came first, though experts agree that Bach was profoundly attached to the lute, invariably introducing religious symbolism into his compositions for that instrument. For example, as the eminent guitarist Paul Galbraith noted, the Sarabande quotes the et incarnatus est for the Credo of the Mass in B minor. Incorporating the ornateness of the French lute tradition, as well as the simplicity and directness of the German style, this suite demonstrates Bach 's ability to create a powerful personal idiom by effectively fusing different national styles. For example, the Prelude, which opens with a stately, deliberate, almost verbose introduction is followed by a brisk, laconic fugue. Seemingly different in spirit, the two sections nevertheless easily coalesce in the listener's mind, constituting a logical and aesthetically convincing entity.