Johannes Monno - J.S. Bach: Works for Lute (2017) [Hi-Res]

Tracklist
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CD1
01. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): I. Prélude
02. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): II. Allemande
03. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): III. Courante
04. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): IV. Sarabande
05. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): V. Gavottes I & II
06. Lute Suite in G Minor, BWV 995 (Arr. for Guitar): VI. Gigue
07. Lute Partita in C Minor, BWV 997 (Arr. for Guitar): I. Prélude
08. Lute Partita in C Minor, BWV 997 (Arr. for Guitar): II. Fugue
09. Lute Partita in C Minor, BWV 997 (Arr. for Guitar): III. Sarabande
10. Lute Partita in C Minor, BWV 997 (Arr. for Guitar): IV. Gigue-V. Double
11. Prélude in C Minor, BWV 999 (Arr. for Guitar)
12. Fugue in G Minor, BWV 1000 (Arr. for Guitar)

CD2
01. Prélude, Fugue & Allegro in E-Flat Major, BWV 998 (Arr. for Guitar): I. Prélude
02. Prélude, Fugue & Allegro in E-Flat Major, BWV 998 (Arr. for Guitar): II. Fugue
03. Prélude, Fugue & Allegro in E-Flat Major, BWV 998 (Arr. for Guitar): III. Allegro
04. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): I. Prélude
05. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): II. Allemande
06. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): III. Courante
07. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): IV. Sarabande
08. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): V. Bourrée
09. Lute Suite in E Minor, BWV 996 (Arr. for Guitar): VI. Gigue
10. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): I. Prélude
11. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): II. Loure
12. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): III. Gavotte en rondeau
13. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): IV. Menuetts I & II
14. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): V. Bourrée
15. Lute Partita in E Major, BWV 1006a (Arr. for Guitar): VI. Gigue


The lute was a very popular instrument in Bach’s day. The various types of lute had for centuries been influential in shaping the development of music. Certain musical terms are in fact directly derived from lute-playing technique, including the expression style brise, coined by Couperin to denote lute-like arpeggiated chords on the harpsichord. During the first half of the 18th century, Sylvius Leopold Weiss was particularly renowned and respected for his consummate mastery of the lute. In his treatise of 1727 on the theory and practice of playing the lute, Ernst Gottlieb Baron writes: “He has been the first to show that more could be done on the lute than was hitherto thought possible…” Reporting on a meeting between S.L. Weiss and J.S. Bach in 1739, Johann Elias Bach wrote the following in a letter to his pupil Johann Wilhelm Koch: “…we heard some very fine music when my cousin from Dresden, who came to stay for four weeks, gave several performances in our house together with the two famous lute-players Herr Weiss and Herr Kropfgans.” This musical acquaintance is likely to have begun much earlier, namely during J.S. Bach’s time in Cothen. Up until this point it was customary for lute music to be composed only by lutenists- too great were the difficulties in coming to grips with the instrument’s tuning, its illogical limitations on polyphonic part-writing and its unique form of notation, known as tablature.

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