Johann Sebastian Bach (1685-1750)
Préludes, BWV 934, 936, 937, 938- Préludes de la Collection Johann Kellner
Anglaise, Menuet et Trio de la Suite Française n° 3, BWV 814
Allemande de la Suite Française n° 4, BWV 815
Fughetta, BWV 961
Menuets I & II de la Partita n° 1, BWV 825
Préludes, Menuets et Fantaisies des Clavier-Büchlein pour W.F. Bach

Gottfried Heinrich Stölzel (1690-1749)
Menuet

Georg Philipp Telemann (1681-1787)
Courante de la Suite, BWV 284

Carl Philipp Emanuel Bach (1714-1788)
Marches du Clavier-büchlein pour Anna Magdalena Bach

Christian Petzold (1677-1733)
Menuet, BWV Ahn. 114/115

Anonyme
Polonaises, Menuet & Musette

(Transcriptions pour guitare de Stefano Cardi)

Stefano Cardi, guitare

Cet album met magnifiquement en valeur des morceaux, initialement pour clavecin, de l'œuvre de Bach transcrits et interprétés pour la guitare. Le son de cet instrument, sa riche dynamique et sa pleine capacité polyphonique sont exploités pour créer des interprétations de quelques pièces qui ont été composées principalement à des fins pédagogiques. Certaines sont extrêmement courtes, mais montrent une grande densité harmonique et un style plutôt chromatique ; tandis que d'autres ont une structure un peu plus large et une écriture avec une utilisation systématique du contrepoint. Le guitariste Stefano Cardi a fait ses propres transcriptions de plusieurs des pièces originales, qui comprennent des œuvres célèbres et bien connues : menuets, polonaises, fantaisies et préludes, qui ont été pour de nombreux amateurs de Bach la première rencontre avec le génie imposant du maître baroque allemand. L'enregistrement contient également des œuvres d'autres compositeurs éminents : Telemann et C.P.E. Bach ; ainsi que deux compositeurs moins connus : Stölzel et Petzold. Entendre ces pièces à la guitare témoigne de la grâce de ces compositions : la texture sonore est subtile et l'élégance exquise. Une belle découverte ! (Mathieu Niezgoda)

In recent decades, Johann Sebastian Bach's (1685–1750) works have undergone numerous transcriptions and adaptations. Since the 1960s, the guitar repertoire has seen the addition of several Bach pieces originally intended for the lute, an instrument that is undoubtedly among the most akin to the modern six-string guitar. Following the increasingly in-depth study of Bach's work and the spread of the classical guitar, several harpsichord pieces have also been transcribed and performed. This album magnificently displays these pieces by exploiting the rich dynamics and full polyphonic capacity of the guitar. The Clavier-Büchlein für Wilhelm Friedemann Bach and the Clavier-Büchlein für Anna Magdalena Bach hold an important place, as these collections offer a glimpse into Bach’s familial and didactic spheres of action. Within the Friedemann Bach collection, we find the two Praeambula (BWV 924 & 926), characterised by arpeggiated writing, probably a model for students to create a first simple improvisation. Further on, the Fantasias that appear in the final part of the collection show a wonderful degree of contrapuntal complexity. Although there were 2 versions of the Anna Magdalena collection, the one which has survived almost in its entirety seems to have been intended as a family album, with contributions not only from Anna Magdalena (J.S. Bach’s wife), but also from her son Carl Philipp Emanuel and other composers. The pieces in this collection, including vocal pieces written for Anna (an accomplished singer), are most commonly small dance forms characterised by an essential and refined homophonic-style writing. The Anglaise and Minuet from the French Suite No.3, as well as the more solemn Allemande from the French Suite No.4, are clear examples of the gracefulness of these compositions, which show a subtler sound texture than those of other series of Bach suites, as well as a more limited use of counterpoint. Also of exquisite elegance is the Minuet from Partita BWV 825, taken from the first volume of the Clavier-Übung. This album also includes some famous works, among them the preludes from the French Suite No.3 and Johann Peter Kellner’s collection. These are rather varied pieces, written for teaching purposes and passed down through written transcriptions from Bach’s pupils. Some are extremely short but show some degree of harmonic density and sometimes a rather chromatic style, while others have a slightly broader structure and a writing more similar to the Inventions, with a systematic use of counterpoint. The album also features works from other prominent composers – George Philipp Telemann (1681–1787) and C.P.E. Bach (1714–1788) – as well as two lesser-known composers, Gottfried Heinrich Stölzel (1690–1749) and Christian Petzold (1677–1733).