Johann Sebastian Suite

Bach's music is often described as indestructible, in the sense that no matter how it is performed, or in whichever arrangement, its essential spirit survives. Therefore, transcriptions of the Master's works are common, today as they were in Bach's time (Bach himself was an ardent transcriber!). This new recording presents instrumental works by Bach transcribed for and played on the modern guitar. The guitar as we know it did not exist in Bach's time - there was the baroque guitar, but it was not widespread in Germany. The closest chordophone instrument to Bach was the baroque lute, an instrument that the genius from Eisenach had among his instruments but probably did not play.

While this cannot be a first-choice recording of the Bach Overtures (Suites), it's certainly a worthy addition to any collector's Bach shelf. Citing numerous examples of recent research, including conductor Siegbert Rampe's own, along with articles by Dirst, Rifkin, and Wolff, Rampe and his excellent period-instrument ensemble Nova Stravaganza strive to show what may have been the original forms of these four famous works. That means we get to hear suites Nos. 3 and 4 without trumpets and timpani; suite No. 2 played in A minor instead of the usual B minor–and with a solo violin rather than flute; and suite No. 1 as "a simple septet"–two oboes, two solo violins, solo viola, bassoon, and harpsichord (reinforced "in accordance with period practice" by 16' violone).

Most piano duet arrangements were meant for the home rather than the concert hall. When you sight-read orchestral reductions at the piano, your physical involvement with the material “fills in” the missing instrumental color. Even with skillful four-hand “de-orchestrations” like Max Reger’s of the Bach Orchestral Suites, listeners run the risk of “registral fatigue”. In the main, the Speidel-Trenkner piano duo circumvents these limitations through canny pianistic means. In the C major Suite’s Forlane, for example, the oboe’s hornpipe-like melody bounces on a featherweight accompaniment.

The personal story of the cello played braced against the shoulder (violoncello da spalla) began when Sergey Malov first listened to a vinyl recording of Bach's cello suites played by the legendary Pablo Casals from his father's collection. Later on, when listening to the recordings he could not get rid of the feeling that this light and dancing music does not fit that well with such a heavy big instrument as a cello. Although perhaps he just wanted to play these amazing pieces himself. Malov was dreaming about playing them authentically. He had no idea though what that authentic way was or how he could place such a huge bass instrument on his shoulder.

Those elusive qualities of ‘transcendental beauty paired with an enchanting simplicity’, eloquently glossed by Alban Gerhardt in his booklet note, might also be said to characterize his playing in this outstanding new recording.

Bach aficionados will be delighted to find again Wieland Kuijken in this reference album coupling the Cello Suites and Gamba Sonatas (with his son Piet), originally released in 2004 and shortly afterwards out of print. As Wieland Kuijken confesses in his interesting text, he laboured over the Cello Suites with his instrument (credited to Andrea Amati) for 30 years before eventually deciding that his interpretation was ready for this compelling recording: ‘Today more than ever, I think it is a whole lifetime that one puts into these works, regardless of whatever one might say, whatever one might know.’