These recordings of Bach's works are part of an innovative approach to Bach transcriptions for the guitar which was inspired by a profound reflection undertaken by the guitarist Ricardo Lopes Garcia, a specialist in the Baroque era and a long-term friend. Our continuous collaboration resulted in my first recording dedicated to Bach, in 2014.
The foundation for this project is the use of a novel scordatura -altered tuning for the guitar-: E, A, C#, F#, B, E. The idea itself is not new and was quite common during the Baroque period, notably by Heinrich Biber who used 15 different tunings for the violin, and Bach himself, in his 5th cello suite. Despite the effect of certain notes not being found in their usual position, the advantages outweigh the constraints providing a more fluid and comfortable fingering for the instrument. While obviously scordatura is not a miracle solution adaptable to all tonalities, it is no less valid than the original tuning; improving the quality of sound and enhancing certain keys (D, A and E major), which enables multiple original harmonic solutions.
Despite all of this potential, the challenge is to maintain Bach’s original intentions. If, as the old Italian proverb states, translation is treason, then surely transcription is just as prone to betrayal! Testimony from Bach’s student J.F Agricola assures us that Bach did not hesitate to arrange his violin works for keyboard: “He would often play them on the clavichord, adding as many notes as he felt necessary, thereby acknowledging the need for harmonies that could not be attained in his works [for solo instrument].” This revealing statement tells us that far from considering the original pieces to be unfinished, we should not ignore the fact that Bach himself would make considerable changes, resulting in almost completely rewriting the original works. Without embarking on an exhaustive analysis, it is evident form the transcriptions at our disposal that Bach resorted to various solutions, such as adding a bass line, changing harmonies and melodies, and implementing existing but merely suggested voices, among other things.
Having used D and A major in my previous CD, this time I turned to their relative minor keys: B and the highly uncommon F# minor with the aim of extending the tonal possibilities of the new tuning The choice of BWV 1002, the violin Partita n°1 in B minor, was therefore a natural one particularly as its unique structure has always intrigued me: it is the only piece in the entire Bach repertoire in which each movement is followed by a double, an elaborate melodic variation of the preceding dance. The relationship between the two movements is less obvious than the usual ornamented reprises, and more subtle. This kind of variation therefore serves not only to embellish each section of a movement but also enables the creation of stand-alone pieces that are like evocations of the original movements.
The search for a suitable piece for the F# minor key was rewarded by the sombre and mysterious Suite n°2 for cello BWV 1008. The unique characteristics of the composition inspires the revelation of suggested harmonies, resulting in many four-voiced chords, sometimes isolated, which entice us to complete the implied textures. In addition, the frequent three-voiced chords in the Menuet I, which are quite uncomfortable to perform on the cello, along with sustained notes in the Allemande and Gigue that are practically impossible to perform on this instrument, may be played with ease on the guitar or keyboard. These are like signs from Bach that reassure us our adaptations are on the right path.
Finally, the Bach/Siloti Prelude in B minor BWV 855a that completes the recording, perfectly illustrates the astonishing journey some works may take, travelling through different stages, all the while maintaining their essence. Thus, an apparently straightforward piece in a collection of exercises written for his son Wilhelm Friedemann, later becomes the sublime Prelude n°10 in the first book of the Well-Tempered Clavier. The Russian pianist A. Siloti (student of Liszt and teacher to Rachmaninoff) also transformed the original exercise by transposing the bass line to the treble, allowing a slow, majestic melody to emerge in the middle register, similar to certain choral Preludes. The fact that musicians such as E. Gilels or G. Sokolov included this version in their programmes also encouraged me to complete this adaptation, resulting in a new contribution to the Bach repertoire for guitar.
Marek Wegrzyk
Translation: Emma Martinez