Johann Sebastian BACH. The Complete Works for Lute Solo arranged for guitar by Jean-François Delcamp. SUITE BWV Prélude, Presto. View credits, reviews, tracks and shop for the CD release of Lute Suites, ( Vol. 1) BWV , , , & on Discogs.
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Nobody knows exactly what instrument J. Bach had in mind when composing and, in some cases, arranging his many pieces now considered to be for lute; indeed, some of these works are all but unplayable on any known variety of Baroque lute, and it may well be that in these cases he was writing suie a peculiar device known as the Lautenwerk–a kind of harpsichord mechanism designed to approximate the timbre of the lute.
A surviving manuscript of the Lute Suite in E minor, BWVBach’s earliest work for lute probably composed in Weimar sometime between andperhaps earlieractually bears the inscription “Aufs Lautenwerk,” though the words appear to have been written by another hand.
In the end, the question is probably moot: The Passaggio is in fact a dual movement, beginning with a single-line melodic plunge that soon gives way to a more recitativo passage in which Bach sets isolated chords against more animated outbursts in the treble register. The second half of the prelude movement is a much more tightly-metered Presto built along miniature fugal lines. The Allemande is of the traditional kind, steady in rhythm and serious in tone.
In this movement, BWV ‘s possible keyboard genesis can be seen and heard in the hand-against-hand style of the two voices. Of special beauty is the mix of minor and major scales at the final cadence of the dance’s second half.
The Courante is a particularly graceful example of this triple-meter dance, its frequent lapses into hemiola serving as a vestigial reminder of the compact two against three rhythmic coloration that, three-quarters of a century before Bach’s time, was so vital a part of courante style.
The zarabande, as a dance-genre, first came to Europe during the fifteenth century via the Spanish New World, and was originally a far raunchier and faster dance than those we know from the High Baroque literature. In the Sarabande of the E minor Lute Suite, we are given an example of the very slow, tender kind of sarabande that first began to pop up in France at the turn of the eighteenth century.
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