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Johann Sebastian Bach: Prélude from Suite No. 1 in G Major, Bwv 1007 for Solo Violoncello & Wachet Auf, Ruft Uns Stimme: IV. Zion Hört Die Wä (en Inglés)
Scott Lyle
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Johann Sebastian Bach: Prélude from Suite No. 1 in G Major, Bwv 1007 for Solo Violoncello & Wachet Auf, Ruft Uns Stimme: IV. Zion Hört Die Wä (en Inglés) - Lyle, Scott
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Origen: Estados Unidos
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Reseña del libro "Johann Sebastian Bach: Prélude from Suite No. 1 in G Major, Bwv 1007 for Solo Violoncello & Wachet Auf, Ruft Uns Stimme: IV. Zion Hört Die Wä (en Inglés)"
The Suite No. 1 in G major, BWV 1007, for solo violoncello by Johann Sebastian Bach (1685-1750) belongs to a series of six suites written for the violoncello likely between the years 1717-1723 when he was Kapellmeister in Köthen. The Prélude from the first suite is the first movement of a seven-movement work. It is very popularly performed not only on the violoncello, but has been transcribed and adapted for performance on many different instruments. This version is transcribed for the classical guitar, and rather than transposing it to another key, I left it in the original key of G major. Many guitarists transpose it to be performed in the key of D major, and tune the sixth string down to D. Although this isn't a bad option, the result is often that it changes the register of many of the notes. I believe that this transposition also detracts considerably from the lucidness and coherence fundamental to the Prélude. There is frequently an alternating bass note in many guitar performances which is interesting and appealing, but not found in Bach's manuscript. Since it isn't original, and I don't believe it improves Bach's aim musically or otherwise, I elected not to pursue it in my transcription. Also included in this edition is a transcription of Wachet auf, ruft uns Stimme: IV. Zion hört die Wächter singen, BWV 140 by Johann Sebastian Bach. It comes from the cantata of the same name, and is originally scored in E-flat major. I transcribed it to E major for clarity and convenience, but one should tune all the strings down one-half step, and play it sounding in the original key (but appearing to be in the key of E major). For both works, I consulted Bach's original manuscripts and examined the scores from the Bach-Gesellschaft Ausgabe. In both cases, I believe these transcriptions to currently be the most faithful and accurate editions for the classical guitar with regards to Bach's scores and intentions.
