Manuel Barrueco famous international guitar virtuoso has transcribed three of Bach's solo violin sonatas (BWV 1001 BWV 1003 and BWV 1005) for his own instrument. This edition corresponds to his new EMI Classics recording on CD.

A Short Sad Song (Leavitt) Chopsticks Chorale #38 (Bach) Chorale No.26 [Bach, Johann Sebastian] Fifty Rocks (Leavitt) Hava Nagila (Let's Be Happy) In My Merry Oldsmobile Jeanie With The Light Brown Hair Joy To The World! La Paloma Blanca (The White Dove) (Hague) Lirpa-lee Melody (Leavitt) Maidens Wish (Chopin) My Wild Irish Rose Polly Wolly Doodle Short'nin' Bread Softshoe Shuffle (Leavitt) Spanish March The Big Rock Candy Mountain The Glow Worm The Happy Farmer Op.68 No.10 (Album For The Young) [Schumann, Robert] When The Saints Go Marching In Zerfleisse, Mein Herze (St John Passion) [Bach, Johann Sebastian]

The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

del suo fratello dilettissimo BWV 992, Transcription for Guitar Trio. Par BACH JOHANN SEBASTIAN. / Date parution : 2022-07-23/ Répertoire / Guitare

Zohn, Andrew. Par BACH JOHANN SEBASTIAN. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Par BACH JOHANN SEBASTIAN / SCHUMANN R.. Révisé par Worschech / Niveau : Elémentaire / classique / Répertoire / Guitare

Par BACH JOHANN SEBASTIAN. / Niveau : Intermédiaire / Répertoire / Guitare Seule

Zohn, Andrew. Par BACH JOHANN SEBASTIAN. / Niveau : Avancé / Répertoire / Guitare Seule

Par BACH JOHANN SEBASTIAN. Transcrite Pour Guitare / Date parution : 2019-09-12/ Répertoire / Guitare

Par BACH JOHANN SEBASTIAN. Langue: English(US)/Deutsch/Français/Nederlands / Date parution : 1905-07-01/ Répertoire / Guitare

Par BACH JOHANN SEBASTIAN. Editeur(s) d'origine: Krause, Ansgar/ Répertoire / Guitare