Bachs soloverk for lutt
BWV 995-1000 og 1006a
Det finnes "tilfeldigvis" syv soloverk for lutt i Bachs oeuvre, et symbolsk og hellig tall.
Verkene til Bach regnes til de mest formfullendte verk som er skrevet for lutt - noe som knapt kan være en overraskelse - og kan sees som en pekepinn på hvor grensene for de polyfone mulighetene til lutten ligger.
Utøvere og gitarister som Andrés Segovia og Julian Bream har vært med å popularisere disse verkene historisk - slik som Glenn Gould med Goldbergvariasjonene - mens vi de siste 40-50 årene har hatt en rekke strålende utøvere på lutt som har brakt musikken tilbake til instrumentet de var skrevet for.
I denne rekken fra Hopkinson Smith til vår egen Rolf Lislevand har musikken fått en renessanse, og deres versjoner er blant referanseinnspillingene. Flere har kommet til, som Evangelina Mascardi, Thomas Dunford og Jadran Duncumb - og deres versjoner som presenteres her hører hjemme i øverste divisjon.
Hør disse fire sine versjoner av Suite BWV 995 og 5. sats: Gavotte I-II-I
Suite i g-moll BWV 995 - Thomas Dunford, lutt
- Präludium ¢ g-Moll - Presto 3/8 g-moll
- Allemande ¢ g-Moll
- Courante 6/4 g-Moll
- Sarabande 3/4 g-Moll
- Gavotte I ¢ g-Moll - Gavotte II ¢ g-moll
- Gigue 3/8 g-Moll
Suite i g-moll BWV 995 er en bearbeidelse av Cellosuite nr 5 i c-moll som ble gjort mellom 1727 og 1731. Mer nøyaktig stammer begge versjonene fra en felles tidligere versjon, men det er ikke avklart om urversjonen ble skrevet for lutt eller cello.
Suiten er dedisert «Monsieur Schouster». En luttenist ved navn Schuster var aktiv i Dresden mellom 1741 og 1784 og den tidsmessige uoverensstemmelsen antas å skyldes at dedikasjonen er påført senere. En annen rimelig hypotese som stemmer bedre med tilblivelsestiden er at stykkene er dedisert forleggeren Jacob Schuster fra Leipzig som Bach klargjorde noen transkripsjoner til.
Thomas Dunford continued his studies at the Schola Cantorum in Basel with Hopkinson Smith, and participated in several master classes with artists the caliber of Rolf Lislevand and Julian Bream, and in workshops with Eugène Ferré, Paul O'Dette, Pascale Boquet, Benjamin Perrot and Eduardo Eguez. He was awarded his Bachelor's degree in 2009.
From September 2003 through to January 2005, Thomas gave his first performances playing the role of the lutenist in Shakespeare's Twelfth Night on stage at the Comédie française. Since then, Thomas has played recitals in New York's Carnegie Hall and Frick Collection, London's Wigmore Hall, the Washington Kennedy Center, the Vancouver Recital Society, Cal performances at Berkeley, the Banff center, the Palau de la Musica in Barcelona, the festivals of Saintes, Utrecht, Maguelone, Froville, TAP Poitiers, WDR Cologne, Radio France Montpellier, Saffron Hall. He made numerous solo or ensemble appearances in the most prestigious European festivals including Ambronay, Arc La Bataille, Bozar, La Chaise-Dieu, Nantes, Saintes, Utrecht and many others. He has also performed further afield in England, Scotland, Ireland, Spain, Germany, Austria, Norway, Belgium, Netherlands, Switzerland, Poland, Hungary, Romania, Estonia, Czech Republic, Bresil, Colombia, Chili, Mexico, United States, Israel, China, Japan and India.
Thomas Dunford' first solo CD Lachrimae recorded for the French label Alpha in 2012, was unanimously acclaimed by critics and was awarded the Caecilia prize of 2013, BBC Magazine calling him the "Eric Clapton of the lute". His second CD « Labirinto d'Amore » was awarded the « Choc » from Classica magazine.
Thomas Dunford is regularly in demand, playing a variety of early plucked string instruments with the ensembles Les Arts Florissants, Akadêmia, Amarillis, Les Ambassadeurs, Arcangelo, La Cappella Mediterranea, Capriccio Stravagante, Le Centre de Musique Baroque de Versailles, La Chapelle Rhénane, Clematis, Collegium Vocale Gent, Le Concert Spirituel, Le Concert d'Astrée, A 2 Violes Esgales, The English Concert, l'Ensemble Baroque de Limoges, La Fenice, Les Folies Francaises, the Irish Baroque Orchestra, Marsyas, Les Musiciens du Louvre, Les Musiciens du Paradis, Les Musiciens de Saint Julien, Les Ombres, Pierre Robert, Pygmalion, La Sainte Folie Fantastique, Scherzi Musicali, La Serenissima, Les Siècles, the Scottish Chamber Orchestra, La Symphonie du Marais...
Thomas Dunford is attracted to a wide variety of music including jazz, and collaborates in chamber music projects with conductors and soloists Paul Agnew, Leonardo Garcia Alarcon, Nicola Benedetti, Keyvan Chemirani, William Christie, Jonathan Cohen, Christophe Coin, Iestyn Davies, Lea Desandre, Isabelle Faust, Bobby McFerrin, Philippe Herreweghe, Monica Huggett, Alexis Kosenko, Francois Lazarévitch, Anne-Sophie von Otter, Trevor Pinnock, Patricia Petibon, Sandrine Piau, Anna Prohaska, Hugo Reyne, Anna Reinhold, Jean Rondeau, Skip Sempé, Jean Tubéry...
Suite e-moll BWV 996 - Evangelina Mascardi, lutt
- Passaggio c e-moll - Presto 3/8 e-moll
- Allemande c e-moll
- Courante 3/2 e-moll
- Bourrée ¢ e-moll
- Gigue 12/8 e-moll
Suite e-moll BWV 996 kan være det eldste stykket, stilanalyser med tidlige klaviaturverk av Bach gir før 1717 som et sannsynlig anslag. Kildene er to avskrifter, en av Johann Gottfried Walther fra rundt 1715 notert i et doppelsystem med sopran- og bassnøkkel, og en avskrift med usikkert opphav som oppbevares i Bibliothèque Royal de Belgique i Brussel.
Evangelina Mascardi is considered one of the most prominent lute players on the international scene.
Born in Buenos Aires in 1977, she graduated in classical guitar and started her concert career as a highly gifted young soloist.
In 1997 she moved to Europe to study with Hopkinson Smith at the Schola Cantorum Basiliensis (Basel, Switzerland), where she obtained her "Solisten Diplom" in 2001.
During the last decade she collaborated regularly as a continuo-player with Jordi Savall (Hespèrion XXI), Marc Minkowsky (Les Musiciens du Louvre), Andrea Marcon (Venice Baroque Orchestra), Giovanni Antonini (Giardino Armonico), Chiara Banchini (415), Simon Rattle (Berliner Philarmoniker). With them and other ensembles she took part in more than 30 recordings.
Nowadays, she confines her collaboration to Ensemble Zefiro (Alfredo Bernardini) and Monteverdi Choir (Sir John Eliot Gardiner), in order to mainly focus on solo lute repertoire.
Constantly praised by critics, she has performed recitals in a number of early music festivals such as Fringe (Barcellona), Concentus (Brno), Resonanzen (Vienna), Luth et Theorbe (Genêve), Early Music Festival (London), Musica Antigua Festival (Daroca), Forum Musicum (Breslau), and guitar festivals in Madrid, Treviso, Santander, Castell'Arquato, Pordenone and Novara.
Evangelina has four solo albums to her credit, two devoted to Johann Sebastian Bach and Sylvius Leopold Weiss (ORF-Alte Musik, Austria 2003 and 2009), one to refined and original theorbo solos by the Modena-born Bellerofonte Castaldi (Arcana 2011) and the latest recently devoted to the Belgian lutenist and composer Laurent de Saint-Luc (Musique en Wallonie 2018).
Suite c-moll BWV 997 - Evangelina Mascardi, lutt
- Preludio c c-moll
- Fuga 6/8 c-moll
- Sarabande 3/4 c-moll
- Gigue 6/8 c-moll - Double 6/8 c-moll
Det antas at Suite c-moll BWV 997 er et senere verk. Det finnes ingen autograf fra Bachs hånd, men det finnes en avskrift av Johann Friedrich Agricola som peker mot tiden mellom 1738 og 1741.
I noen tidlige avskrifter mangler den andre (fugen) og femte (doublen som avslutter giguen) satsen, men disse regnes i dag som ganske sikkert av Bach.
Med ett unntak er alle avskrifter av suiten i klaverpartitur, noe som sammen med analyser av stemmeføringen, har gitt opphav til antakelser om at stykket enten er skrevet for, eller ment også å kunne framføres på luttklaver, et instrument som ble utviklet av Bachs tremenning, Johann Nikolaus Bach, og som det fantes to av i boet etter Bach.
Preludium, fuge, allegro Ess-dur BWV 998 - Luciano Contini
- 12/8 Ess-dur
- Fuga c Ess-dur
- Allegro 3/8 Ess-dur
Preludium, fuge, allegro Ess-dur BWV 998 er bevart i Bachs håndskrift, men er ikke datert. Vannmerket på papiret og håndskriften gjør at 1740 blir antatt. Selv om stykket er påført «pour la Luth. ó Cembal», gir den satstekniske layouten og toneomfanget hint om at dette er en primærkomposisjon for lutt.
Luciano Contini was born in Sassari, Sardinia in 1958. After studying guitar with A. Marrosu in Sassari and obtaining his doctorate "cum laude" in musicology from the University of Bologna, L.C. exclusively with the performance practice of Renaissance and Baroque music and studied the lute and figured bass at the Schola Cantorum in Basel with E.Dombois, H.Smith and J.Christensen in the 1980s. He has won several competitions and has worked with musicians such as Jordi Savall, René Clemencic, Riccardo Muti, Jesper Christensen, Chiara Banchini, as well as with many ensembles such as Armonico Tributo, Ars Antiqua Austria, Aurora, The Rare Fruit Council and Private Musicke. worked.
His concert activities took him all over Europe, to the United States, Brazil and Japan, and he played for the major concert and opera houses in Europe in Berlin, Venice, Milan, Paris and Vienna.
In addition to radio and television recordings, he has participated in numerous CD recordings as a chamber musician and soloist, including with Astrée, Harmonia Mundi France, Arcana, Symphonia, Tactus. International critics recognized his solo CDs with works by A. Piccinini and G. Zamboni as outstanding recordings.
Luciano Contini is a lecturer in historical music practice at the University of Music and Performing Arts in Vienna and heads the lute class at the Vienna Conservatory.
I grew up listening to the late guitarist Julian Bream, and when you listened to him play, well of course you appreciated the music but you also appreciated his musicianship, fantasy, the way he coaxed so many different sounds out of the guitar - not all of them beautiful - thankfully, but all of them a contributing element of his interpretation and moving me when I listened.
- Jadran Duncumb
Preludium c-moll BWV 999 - Jadran Duncumb, lutt
- Präludium 3/4 c-moll
Stykket stammer fra Bachs tid i Köthen rundt 1720 og er sannsynligvis ikke opprinnelig for lutt, det finnes framfor alt en parallell i Präludium C-dur fra første del av Das Wohltemperierte Klavier. Det er stilt spørsmål om stykkets ekthet, men stilen er Bachsk.
Jadran Duncumb is of English and Croatian origins, although from the age of nine he grew up near Oslo in Norway.
He made his mind up to study music when he won the String Category and thus reached the final of the "BBC Young Musician of the Year".
Jadran began to explore baroque music during his studies at the Royal College of Music (where he studied guitar under Gary Ryan and lute under Jakob Lindberg) in London and has since been very active as a continuo player performing with various European ensembles as well as being in demand as a soloist specialising mainly in repertoire for the baroque lute and baroque guitar. He is a memeber of Barokkanerne and Oslo Circles.
He has given chamber concerts with musicians such as Amandine Beyer, Rolf Lislevand, Mario Brunello and regularly plays with Lina Tur Bonet and Musica Alchemica, and Giuliano Carmignola in the programmes 'Carmignola and Friends'. With his pianist brother Emil Duncumb, he has explored programmes of pieces for their combination of piano and guitar on both period and modern instruments, while his collaborations over many years with the violist André Lislevand lead to the album 'Forqueray Unchained' (together with the harpsichordist Paola Erdas) on Arcana in 2021 - winning a Diapason Dècouverte in May 2021.
His duo with the violinist Kinga Ujszàszi, "Repicco", was selected to join the Creative Europe's "EEEmerging Artists Programme" giving concerts and classes in Romania, Latvia, Italy and at the Ambronay Festival - where they were also awarded the audience prize for their concert. They were subsequently invited to give several concerts throughout Europe in the coming concert seasons, and to serve as mentors in the 2017 Ambronay Baroque Academy. Their debut recording 'Assissini, assassinati' came out on Editions Ambronay in Autumn 2017 (5 Diapasons)
He frequently performs with violinist Johannes Pramsohler, touring with programmes of music for baroque lute and violin by Bach and Weiss and their contemporaries. Their CD of duos and solos by J. S. Bach and Sylvius Weiss came out in October 2017 on Audax Records.
In 2015, he was awarded the 1st prize at the international "Maurizio Pratola" lute competition in L'Aquila, Italy, as well as receiving a distinction for his Master-recital in lute and early plucked instruments. A year later he also received another distiction in basso continuo, always at the Hochschule für Musik in Trossingen, Germany where he studied under Rolf Lislevand.
Since then, he regularly gives solo recitals and is asked to give masterclasses, specialising mainly on the baroque lute and baroque guitar. He has recorded two solo albums for Audax Records, Weiss & Hasse - Lute Sonatas (2018 -Audax Records) and Bach - Works for lute (2021) (Diapason D'Or May 2021). His first experience as a musical director will come in November 2021 in a concert of arias with Rachel Redmond, chamber music, and concertos with lute with Barokkanerne in May 2021.
Future projects include a recording and tour 'A ma guitare' (Alpha) with the soprano Giulia Semenzato of music by Sor, Rossini and Giuliani and volume two of Bach's 'Lute Works' with Audax.
Fuge g-moll BWV 1000 - Gvaneta Betaneli, gitar
- Fuge g-moll
Bare en avskrift i tabulatur av Johann Christian Weyrauch fra rundt 1730 er bevart. Stykker stammer fra andre sats av g-moll-Sonate for fiolin solo som er skrevet etter 1720. Det er ikke sikkert om luttbearbeidelsen er utført av Bach eller Weyrauch. Av den samme originale solofiolinsonaten finnes det også en versjon for orgel (BWV 539,2) som heller ikke sikkert kan tilbakeføres til Bach. Mens orgelversjonen er av middelmådig kvalitet, står luttversjonen på et høyere kvalitetsmessig nivå. To takter er også føyd til, så i dag regnes luttversjonen som et verk av Bach.
Gvantsa (Gvaneta) Betaneli - georgian classical guitarist, winner of numerous national and international competitions, considered to be one of the best performers of her generation.
Gvaneta was born in Tbilisi, Georgia. She began studying guitar at the age of three under the careful guidance of her father Ferdinand Betaneli. Already 5 years old she gave her first solo concert. At the age of 13 she successfully participated in a competition and became soloist of the State Philarmonic of Georgia. One year later she started recording with famous labels in Georgia following many successes, lots of concerts and later international career.
Gvantsa Betaneli successfully graduated from Experimental Musical Gymnasium of Tbilisi State Conservatoire (Central Music School for talented kids). At the age of 16 she became the youngest student at Tbilisi V. Sarajishvili State Conservatoire, where she finished her Bachelor and Master degree with honor.
In 2011 Gvaneta received prestigious scholarship of DAAD (German Academic Exchange Service) to continue her study in Germany at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main. In 2014 she graduated from HfMDK and got KA Diplom. After that she continued her study in the same university in class of Helmut Osterreich for Master, which she finished with honor in 2017.
During study at Tbilisi Conservatoire Gvaneta won five times in succession scholarship of Georgian President, which is one of the most prestigious awards for students in Georgia. In Germany, she has been supported by DAAD scholarship four times. Among them three times she was awarded a semester scholarship-prize for best foreign students "DAAD STIBET III" 2013, 2014, 2016. In November 2018 Gvaneta won prestigious scholarship of Yehudi Menuhin Live Music Now foundation.
Gvaneta has a very active concert life. Starting from early years she performed in numerous concert venues in Georgia, Russia, Ukraine, Belarus, Germany, Spain, and Costa Rica. She has been participating in international charity concerts, festivals, giving master classes. Beside her solo carrier Gvaneta often plays chamber music. She gives lots of concerts as a member of Duos, Trios and different ensembles. She received many awards for her concert tours. In 2010 she got special diploma of Ministry of Foreign Affairs of Ukraine and Embassy of Ukraine in Georgia for doing her special contribution in cultural relations between two countries. In 2017 guitarist received special certificate from municipality of Cartama for her concert tour in Spain. Many reviews about her concerts are written by magazines, newspapers and internet portals of several countries.
Gvaneta has been participating and getting prizes in numerous national and international competitions in Armenia, Belarus, Georgia, Russia, Ukraine, Croatia. She has obtained more than ten prizes such as the Second prize at the 2nd International Guitar Competition Bale-Valle "Live Guitar" (Croatia Bale); The first prize at the 10th international guitar competition "Guitar Renaissance" (Belarus Gomel); The second prize at the 1st Tbilisi International Guitar Competition (Georgia Tbilisi); The first prize at the III international competition of musician performers "Renaissance" in (Armenia Gyumri); The second prize at II national classical guitar competition (Georgia Tbilisi).
Gvaneta regularly introduces master instruments of the best guitar makers and records videos with renowned guitar salon Siccas Guitars (Karlsruhe, Germany). Her Videos have thousands of views on YouTube.
Along with performing career young guitarist is also very active as a teacher in Germany. From 2013 she became a pedagogue of guitar at one of the prestigious music schools in Germany - Frankfurt State Music School (Musikschule Frankfurt am Main e.V).
Gvaneta spends her free time by writing some prose, essays and books about music. She has written one essay and several books, out of them one is in Georgian language and the rest in Russian.
She is fluent in Georgian, German, English and Russian languages.
Suite E-dur BWV 1006a - Evangelina Mascardi, lutt
- Prélude 3/4 E-dur
- Loure 6/4 E-dur
- Gavotte en Rondeau ¢ E-dur
- Menuett I 3/4 E-dur - Menuett II 3/4 E-dur
- Bourrée 2 E-dur
- Gigue 6/8 E-dur
Også Suite E-dur BWV 1006a er en bearbeidelse av en tidligere solosuite, 3. fiolinpartita E-dur BWV 1006 som Bach skrev rundt 1720. Transkripsjonen er uten instrumentangivelse, så det var lenge uenighet om besetning. Toneomfanget tyder på lutt, selv om det er ubekvemt for den stemmingen som var vanlig på Bachs tid. Spitta skrev i et brev til eieren av autografen at det ikke kunne være noen tvil om at verket var skrevet for klaver. Siden Bach forutsetter skordatur for enkelte av sine suiter, er det også tenkbart at det gjelder også for E-dur-suiten. Bearbeidelsen for lutt kan være fra mellom 1735 og 1740. Selv om den ikke bærer noen dedikasjon blir det antatt at suiten er transkribert for en av de to berømte luttenistene, Silvius Leopold Weiss eller Johann Kropffgans, som begge beviselig musisert i Bachs hus i 1739.