astro64 wrote: ↑
Sun Feb 04, 2018 9:52 pm
Did someone already mention that Bach apparently himself rewrote the 5th cello suite into a lute ("lautenwerke" if you want) suite? That hardly supports the argument the cello suites are no good when played on a guitar...
Bach, along with other composers of his era, was constantly reworking and adapting his own works and the works of others. I prefer to hear the cello suites on the cello. That doesn't mean I think it's inappropriate to play them on guitar. I play selections from them myself. They sound lovely on guitar. It's just a preference. [Edited to remove a remark that sounded more snide than I intended
Conall wrote: ↑
Sun Feb 04, 2018 10:25 pm
I'd still hold the critical observations of those who have been studying Bach's music all their working lives (and Baroque lutenists who confirm the scholars' suspicions) way above the personal preferences & opinions of those who don't have the same level of expertise (such as me) as they do.
It might be better to ask how the experts arrive at this or that conclusion as well since any two experts can reach quite conflicting conclusions on the subject. I'm not prepared to accept Helga Thoene's hypotheses just on the basis of her academic credentials. The analyses of academic Zoltan Göncz really resonate with me. But they could be wrong regardless of Göncz's academic achievements.
Many scholars know that, for example, the E major partita BWV 1006a is well-nigh impossible on Baroque lute since it is tuned in D minor.
Which doesn't say much about BWV 997, for example.
Bei einer andächtigen Musik ist allezeit Gott mit seiner Gnaden Gegenwart.
-- J. S. Bach