SKU: KV.3611867
Here is the performer!s edition of the last three Bach cello Suites. Notated by scholar Tim Hugh, the volume contains BWV 1010, Suite four, BWV 1011, Suite five and BWV 1012, Suite six. As in Volume One, the editor prefers to give as much variety as possible between the repeat of movements with regards to bowing, dynamics, tempo and mood. Again, a helpful CD of all three Suites is included in this must have volume.
SKU: KV.3611866
Here at last is a performer!s edition of the first three Bach cello Suites. Notated by scholar Tim Hugh, the volume contains BWV 1007, Suite one, BWV 1008, Suite two, and BWV 1009, Suite three. With all of the movements repeated (minuets, bourrees and gavottes twice), the editor prefers to give as much variety as possible between them with regards to bowing, dynamics, tempo and mood. A helpful CD of all three Suites is included in this must have volume!
SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
