Roberto Zadra, Alessia Mattiazzi, Marco Emmanuele - J.S. Bach: 3 Cello Suite Nos. 1-3, BWV 1008, 1010 & 1007 (Transcr. for Guitar) (2024) [Hi-Res]

Tracklist

01. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): I. Prélude
02. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): II. Allemande
03. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): III. Courante
04. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): IV. Sarabande
05. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): V. Menuett I - VI. Menuett II
06. Cello Suite No. 2 in D Minor, BWV 1008 (Transcr. for Guitar by Alessia Mattiazzi): VII. Gigue
07. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): I. Prélude
08. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): II. Allemande
09. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): III. Courante
10. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): IV. Sarabande
11. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): V. Bourrée I - VI. Bourrée II
12. Cello Suite No. 4 in E-Flat Major, BWV 1010 (Transcr. for Guitar by Roberto Zadra): VII. Gigue
13. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): I. Prélude
14. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): II. Allemande
15. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): III. Courante
16. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): IV. Sarabande
17. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): V. Menuett I - VI. Menuett II
18. Cello Suite No. 1 in G Major, BWV 1007 (Transcr. for Guitar by Marco Emmanuele): VII. Gigue

The three Suites recorded on this CD (BWV 1007, BWV 1008 and BWV 1010) were transcribed for guitar by the performers themselves, following a practice customary for Bach and absolutely familiar to him (the Fifth Suite for cello has come down to us in two versions, one for cello and one for lute: we are not sure which came first). One should therefore recognise the full aesthetic legitimacy of the guitar transcription of these compositions, a practice, moreover, that has now been established for decades. This procedure is ultimately legitimised by the primacy, in Bach’s language, of the harmonic and contrapuntal dimension over their sonic realisation, a primacy that led Ferruccio Busoni, for whom the concept of “transcription” occupies a position of absolute centrality in his aesthetic thought, to transcribe for piano not only numerous compositions for organ by Thomaskantor, but also the Chaconne from the Second Partita in D minor for solo violin. With specific regard to the guitar, one cannot fail to mention the name of Andrés Segovia, who transcribed for his instrument and recorded in 1946 the highly famous Chaconne.

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