Bach: Transcriptions for Guitar by Benjamin Verdery (LINER NOTES)

BENJAMIN

JOHANNSEBASTIAN

VERDERY TRANSCRIPTIONS

JOHANN SEBASTIAN BACH

Cello Suite No. 6 in D Major, BWV 1012

Prelude

Allemande

Courante

Sarabande

Gavottes I & II

Gigue

Violin Sonata No. 2 in A minor, BWV 1003

Grave Fuga

Andante

Allegro

THE ART OF TRANSCRIPTION

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 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, BW\ 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.

It is interesting to speculate on why Bach’s music might be more amenable to transcription than that of other composers. A simple answer might be that Bach’s music possesses qualities which are independent of the timbres and technical idiosyncrasies of instruments and instrumentations. His preoccupation with contrapuntal texture would

contribute to this independence. That Bach played many instruments, including the lute, and that he wrote for them with clear understanding of instrumental techniques are contributing factors to the adaptability of his music.

In addition to the precedent of Bach’s own practice, Mr. Verdery is following another tradition in making his arrangements, a tradition set by the history of the development of the guitarist’s repertoire. The modern guitar reached its present form only in the middle years of the Nineteenth Century, in the instruments built by Antonio Torres. All music played on the instrument up to that point must consequently be, in some sense, transcribed. Works written for earlier fretted instruments--the renaissance lute and guitar, the vihuela, the baroque lute and guitar--all require varying measures of adaptation when played on the modern guitar. Indeed, even works written for the early Nineteenth Century guitar, by Sor and Giuliani, among others, required alterations, since the earlier instrument had a smaller body and shorter scale than its modern descendant. The guitar has drawn its repertoire from music written for non-fretted instruments as well. The great Spanish guitarist, Francisco Tarrega (1852-1909), was a trained pianist who, in addition to composing original works for the guitar, spent much time and effort arranging keyboard, violin, music for guitar, including pieces by Bach, including the Fugue in A minor originally written for solo violin, BWV 1000. His successor, Andres Segovia (1895-1987) achieved

great renown for his Bach transcriptions, especially his arrangement of the great Chaconne from the solo violin partita BWV 1004. More recently we have seen Hubert Kappel’s arrangement of the sixth Keyboard Partita BWV 830, and David Russell’s version of the Flute Sonata, BWV 1034.

The acid test for all transcriptions, of course, is not tradition or precedent but, very simply, whether or not the arrangements work musically. In this regard, Mr. Verdery’s versions work brilliantly, his success owing as much to his superb performances as to his arranging skills.

SUITE NO. 6 FOR VIOLONCELLO, BWV 1012

Bach’s solo cello works were composed round about 1720 when he was Kappellmeister at Cothen, a period in his career which saw much experimentation with all sorts of instrumental possibilities. The fruits of this period include such series as the French and English suites and the Well-Tempered Clavier (all for keyboard), sonatas for viola da gamba and continuo, sonatas for flute and for violin, concertos for violin, and the Brandenburg Concertos. Among this harvest, the six suites for solo cello occupy a prominent place. Although Bach’s autograph of these works is lost, copies exist, most notably one by Bach’s second wife, Anna Magdelena. Of the suites, the sixth is unique in that it was written for five-stringed cello, possibly a viola pomposa or violoncello piccolo, or simply a standard cello with an added high E-string.

The work itself is made up of a sequence of stylized dances preceded by a customary Prelude, the suite

comprising a wonderfully balanced and symmetrical whole. At the Sarabande, with characteristic stately rhythm in three. It is preceded by a relatively slow Allemande with highly ornamented figures, and a Courante with its italianate running arpeggios. The Sarabande is followed by two lighter, happy Gavottes, the second of which imitates a musette, and concludes with a vigorous Gigue in six-eight time. The opening Prelude is of course tied to no set dance. Here it takes the form of a ritornello occurring in various keys and concluding with a virtuosic cadenza.

VIOLIN SONATA NO. 2, BWV 1003

This work also dates from the Cothen period. In this instance an autograph does exist, dated 1720. The contrapuntal writing in the solo violin sonatas and partitas was not unique, but as in so much of his music, Bach’s achievements represented the culmination of Baroque tradition. The structure of the sonata is clearly distinct from that of the suite or partita. It follows the form of the “sonata chiesa” (church sonata) with its typical four movements patterns. Its closest analogues can be seen in the works of Corelli (1653-1713).

In the present sonata, as in Corelli’s, the second piece is a fugue and it is this contrapuntal form which functions as the central focus. Using both explicit and implied counterpoint (essential for four-stringed instruments creating a three-part texture).

Bach builds a magnificent structure from a brief subject. The Fugue is preceded by a Grave, melodic and highly ornamented, and followed by an Andante in

two parts which boasts one of Bach’s most lyrical melodies propelled by a steady bass. The Sonata concludes with a lively Allegro notable for a number of explicit markings of piano and forte (rare in Bach) which results in an ongoing dynamic contrast.

Jack Silver ©

BENJAMIN VERDERY

Benjamin Verdery is a brilliant performer. He possesses an astonishing technique, is a skilled arranger and composer, gifted teacher and creative programmer. Guitar Review describes this New York based guitarist as “an American original, an American master:” Recent seasons have seen Mr. Verdery at the

International Guitar Festival Havana, Cuba; Theatre Carre, Amsterdam; South Bank Festival, London: Colorado Music Festival; American Finger-style Festival, as well as New York City, Los Angeles, San Francisco, Washington, DC, Chicago, Toronto and Miami.

Mr. Verdery has appeared on BBC Radio 3, PBS Morning Pro Musica and WNYC’s New Sounds. Newport Classic released Ride The Wind Horse, a collection of American guitar music. Sony Classical released John Williams’ Vivaldi Concertos that includes the Concerto for Two Mandolins in G major (transcribed for two guitars) with Benjamin Verdery and the Liszt Chamber Orchestra. Newport Classic released Benjamin Verdery’s Some Towns & Cities with special guests Leo Kottke, Frederic Hand, Paco Pena, John Williams and others.

Benjamin Verdery is currently on the faculties of Yale University, the National Guitar Summer Workshop and the Paco Pena Centro Flamenco in Cordoba. He is also a monthly columnist for Guitar Player Magazine.

Benjamin Verdery resides in New York City with wife Rie Schmidt, their son John and daughter Mitsuko.

Special thanks to James & Janet D'Addario, David

Hancock, Mary Jane &: Anthony Newman, David

Leisner, Seymour Bernstein, Keith Underwood and Rie Schmidt.

This recording is dedicated to my godson, Olivier

Pierre Damien Montagnier.

Benjamin Verdery is managed by:

Gami-Simonds, Inc.

24 Church Hill Rd.

Washington Depot, CT 06794 USA

Producer and Recording Engineer: David Hancock

Executive Producers: Robert Trenholm & Ian MacInnis