Lute Suite in G minor, BWV 995
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Suite in G minor BWV
995, is a piece written by the composer Johann Sebastian Bach
. It is a transcription of Cello Suite No. 5, BWV 1011
, which is written by the same composer. Written between the spring of 1727 and the winter of 1731, this extraordinary Lute Suite exists in another version, as the Cello Suite No. 5, in C minor. It appears that the cello version came first, though experts agree that Bach was profoundly attached to the lute, invariably introducing religious symbolism into his compositions for that instrument. For example, the Sarabande
quotes the et incarnatus est from the Credo of the Mass in B minor. In both versions, the melody line is derived from a chord, but the lute version is more idiomatic, as the chordal origin of the melody is more transparent in the lutenist's style brisé, whereby a chord seems literally broken into its tonal components. Incorporating the ornateness of the French lute tradition, as well as the simplicity and directness of the German style, this suite demonstrates Bach's ability to create a powerful personal idiom by effectively fusing different national styles. For example, the Prelude, which opens with a stately, deliberate, almost verbose introduction is followed by a brisk, laconic fugue
. Seemingly different in spirit, the two sections nevertheless easily coalesce in the listener's mind, constituting a logical and aesthetically convincing entity. Similarly, the Gavotte I, which features plain and broken chords, combines an idiomatic directness and simplicity with rich, and emotionally powerful, chordal accompaniment.
BWV
The Bach-Werke-Verzeichnis is the numbering system identifying compositions by Johann Sebastian Bach. The prefix BWV, followed by the work's number, is the shorthand identification for Bach's compositions...
995, is a piece written by the composer Johann Sebastian Bach
Johann Sebastian Bach
Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity...
. It is a transcription of Cello Suite No. 5, BWV 1011
Cello Suites (Bach)
The Six Suites for Unaccompanied Cello by Johann Sebastian Bach are some of the most performed and recognizable solo compositions ever written for cello...
, which is written by the same composer. Written between the spring of 1727 and the winter of 1731, this extraordinary Lute Suite exists in another version, as the Cello Suite No. 5, in C minor. It appears that the cello version came first, though experts agree that Bach was profoundly attached to the lute, invariably introducing religious symbolism into his compositions for that instrument. For example, the Sarabande
Sarabande
In music, the sarabande is a dance in triple metre. The second and third beats of each measure are often tied, giving the dance a distinctive rhythm of quarter notes and eighth notes in alternation...
quotes the et incarnatus est from the Credo of the Mass in B minor. In both versions, the melody line is derived from a chord, but the lute version is more idiomatic, as the chordal origin of the melody is more transparent in the lutenist's style brisé, whereby a chord seems literally broken into its tonal components. Incorporating the ornateness of the French lute tradition, as well as the simplicity and directness of the German style, this suite demonstrates Bach's ability to create a powerful personal idiom by effectively fusing different national styles. For example, the Prelude, which opens with a stately, deliberate, almost verbose introduction is followed by a brisk, laconic fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
. Seemingly different in spirit, the two sections nevertheless easily coalesce in the listener's mind, constituting a logical and aesthetically convincing entity. Similarly, the Gavotte I, which features plain and broken chords, combines an idiomatic directness and simplicity with rich, and emotionally powerful, chordal accompaniment.