This recording features transcriptions for guitar by J.S. Bach. Composer: Johann Sebastian Bach Artists: Stefano Cardi (guitar)  Purchase or streaming: https://brilliant-classics.lnk.to/JSB...  More Information: https://www.brilliantclassics.com/art...

J.S. Bach: 0:00:00 Präludium, BWV 936 from J.P. Kellner’s Collection 0:03:23 Präludium, BWV 934 from J.P. Kellner’s Collection 0:05:39 Präludium, BWV 937 from J.P. Kellner’s Collection 0:08:03 Präludium, BWV 938 from J.P. Kellner’s Collection

French Suite No. 3, BWV 814: 0:10:25 I. Präludium, BWV 940 0:11:29 II. Präludium, BWV 939 0:12:22 III. Präludium, BWV 942 0:13:25 IV. Präludium, BWV 999 0:15:16 Anglaise in D Major 0:17:33 Menuet & Trio 0:21:55

French Suite No. 4 in E-Flat Major, BWV 815: I. Allemande 0:25:51 Fughetta in C Minor, BWV 961 0:28:11 Partita No. 1 in B-Flat Major, BWV 825: I. Menuet I & II 0:32:21 Praeludium,

BWV 926 from Clavier-Büchlein vor W.F. Bach 0:34:12 Menuet, BWV 841 from Clavier-Büchlein vor W.F. Bach 0:35:42 Menuet, BWV 842 from Clavier-Büchlein vor W.F. Bach 0:36:54 Praeambulum, BWV 924 from Clavier-Büchlein vor W.F. Bach 0:37:58 Fantasia No. 12, BWV 792 from Clavier-Büchlein vor W.F. Bach 0:40:06 Praeambulum, BWV 930 from Clavier-Büchlein vor W.F. Bach 0:42:48 Fantasia No. 13, BWV 791 from Clavier-Büchlein vor W.F. Bach 0:45:51

Stölzel: Menuet Iincluding Trio by J.S. Bach “per la partia di signore Steltzen”, BWV 929 0:49:18 Telemann: Courante from Suite, BWV 824 0:52:00 C.P.E. Bach: Marche, BWV Anh. 122 from Clavier-Büchlein vor A.M. Bach 0:53:19 C.P.E. Bach: Marche, BWV Anh. 124 from Clavier-Büchlein vor A.M. Bach 0:54:56 Petzold: Menuet, BWV Anh. 114/115 0:58:07 Polonaise, BWV Anh. 119 0:59:20 Menuet, BWV Anh. 113 1:01:23 Menuet, BWV Anh. 120 1:03:07 Menuet, BWV Anh. 116 1:05:19 Menuet, BWV Anh. 132 1:06:20 Musette, BWV Anh. 126

 The Clavier-Büchlein vor Wilhelm Friedemann Bach and the Clavier-Büchlein vor Anna Magdalena Bach hold an important place, as these collections offer a glimpse into Bach’s familial and didactic spheres of action. Within the Friedemann Bach collection, we find the two Praeambula (BWV 924 & 926), characterised by arpeggiated writing, probably a model for students to create a first simple improvisation. Further on, the Fantasias that appear in the final part of the collection show a wonderful degree of contrapuntal complexity. Although there were 2 versions of the Anna Magdalena collection, the one which has survived almost in its entirety seems to have been intended as a family album, with contributions not only from Anna Magdalena (J.S. Bach’s wife), but also from her son Carl Philipp Emanuel and other composers. The pieces in this collection, including vocal pieces written for Anna (an accomplished singer), are most commonly small dance forms characterised by an essential and refined homophonic-style writing. The Anglaise and Minuet from the French Suite No.3, as well as the more solemn Allemande from the French Suite No.4, are clear examples of the gracefulness of these compositions, which show a subtler sound texture than those of other series of Bach suites, as well as a more limited use of counterpoint. Also of exquisite elegance is the Minuet from Partita BWV 825, taken from the first volume of the Clavier-Übung. This album also includes some famous works, among them the preludes from the French Suite No.3 and Johann Peter Kellner’s collection. These are rather varied pieces, written for teaching purposes and passed down through written transcriptions from Bach’s pupils. Some are extremely short but show some degree of harmonic density and sometimes a rather chromatic style, while others have a slightly broader structure and a writing more similar to the Inventions, with a systematic use of counterpoint.