BACH: TRANSCRIPTIONS FOR GUITAR - Benjamin Verdery

Bach Transcriptions Verdery liner notes

At first glance, the notion of playing works originally written for bowed instrument for solo violin, the classical guitar might appear unusual. Yet, in arranging the second sonata for violin BWV 1003, and the sixth suite for violoncello, BWV 1012, Benjamin Verdery is following a precedent set by Bach himself, who was an inveterate and unrepentant transcriber. Consider Bach’s suite for lute, BWV 995. Originally written for the cello, the work was adapted by Bach himself for the baroque lute, a fretted instrument on which notes are produced by plucking the strings with the fingers in a manner akin to guitar technique. And again, the Suite for Lute BWV 1006, transcribed by Bach, first saw light as the third partita for solo violin. These examples are characteristic of Bach’s attitude towards the making of transcriptions. Again and again, he freely arranged material originally in one instrumental setting for varving combinations of instruments and in different musical contexts. Consequently, it is safe to say that he would have approved of Mr. Verdery’s efforts.