![]() ![]() Than the form for organ which is now universally known.Īttademo contributes a personal introduction to the album which explains his choice of repertoire and interpretative approach, taking inspiration from great Bach players of the past such as Mstislav Rostropovich and Dinu Lipatti. Grandest and most superficially complex of the works here, the famous D minor Toccata and Fugue proves highly idiomatic on the guitar, relating the virtuosic and extrovert writing back to what we now think must be a lost violin original for the piece (possibly not even by Bach) rather These pairs only serve to underline the variety of Bach’s response to a particular genre. The recital includes several stimulating pairs: the Aria from the Goldbergs with the Air from the Third Orchestral Suite Gavottes from the Sixth Cello Suite and E major Violin Partita the Siciliano from the G minor solo sonata for violin preceding the more famous flute example. On this new recording he turns to pieces originally conceived for cello (the Preludio of the First Cello Suite), violin (the Chaconne from the D minor Partita), harpsichord (the Aria from the Goldberg Variations) and flute (the Siciliano from theE flat major Sonata) which have gained iconic status in the three centuries since their composition for their surface simplicity and expressive depth. Luigi Attademo recorded all of Bach’s lute music a decade ago on a 2CD Brilliant Classics album (94294) which attracted glowing reviews in the international press for the combined rigour and imagination of his playing. Steven Devine plays a double-manual harpsichord by Colin Booth (2000) after Fleischer (1710), which throughout the programme allows him to bring out Bach’s idiomatic contrasts in dynamics and colour.A newly recorded collection of highlights from Bach’s great corpus of instrumental writing, in transcriptions by Luigi Attademo himself.īach left us a few isolated pieces and suites for the lute, predecessor of the guitar, but guitarists have always found the rest of his music as amenable to adaptation as every other musician. Alongside these large-scale works are the Aria variata ‘alla maniera italiana, the Chromatic Fantasia and Fugue, BWV 903, and the Fantasia in C minor, BWV 906. It is grandiose and imposing in character and stands in contrast to the seven shorter, more delicate dance movements that follow. The large scale of the ‘French’ Overture’s opening movement is unprecedented in the work of Bach, being his longest single keyboard movement. It is full of allusions to the style of the Italian orchestral concerto but the idiomatic keyboard writing, particularly in the exquisitely ornamented slow movement, clearly shows the work’s conception as a virtuoso keyboard piece. The ‘Italian’ Concerto has long been thought a product of Bach’s extensive study of Vivaldi’s concerti. ![]() Here Steven Devine’s performances show that these works do far more than simply refresh spirits. The ‘Italian’ Concerto and ‘French’ Overture included on this disc together make up the second part of Bach’s Clavier-Übung, composed, according to Bach himself, ‘for music lovers to refresh their spirits’.
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