Hopkinson Smith – Bach: Suites Nos. 1, 2, 3 (2013) [Qobuz FLAC 24bit/96kHz]

Hopkinson Smith – Bach: Suites Nos. 1, 2, 3 (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 65:55 minutes | 550 MB | Genre: Classical
Srudio Masters, Official Digital Download – Source: Qobuz | Digital booklet | © naïve classique

One of today’s ‘popes’ of early and baroque lute playing, Hopkinson Smith returns to the magic masterpieces of Bach and records the renowned Suites BWV 1007, 1008 and 1009, transcribed by himself for the German theorbo…

Bach was a musical ecologist, the masterful recycler of his own compositions, arranging more than a few from one instrument or combination of instruments to another. Many of his works seem conceived on a somewhat abstract plane, above and beyond any specific instrument, and it was completely natural for the pragmatic 18th-century mind and ear to adapt them to the instrument of its choice.

Among the so-called ‘official’ lute works of Bach, there exist two such adaptations: from the solo violin repertoire, the Third Partita, BWV 1006, becomes BWV 1006a for the lute, and the Fifth Cello Suite is transformed into the Lute Suite in G minor, BWV 995. Of course, lutenists had been adapting music for their instrument for centuries. More than half of the continental lute music of the Renaissance is made up of adaptations of vocal works. In the French baroque, Robert de Visée couldn’t stop making transcriptions for his theorbo of orchestral and keyboard works by his contemporaries. The great 18th-century German lutenist, Sylvius Weiss, a friend of Bach’s, was said to have played violin concertos directly on the lute. These examples of adaptations are not given as a kind of ‘justification’ for the present project as if the idea needed to be defended historically. It is more to guide the modern musical thinker (who sometimes knows more about ‘authenticity’ than did the musicians of former times) to the state of experimentation and discovery that is completely natural for the musician: one sits alone with one’s instrument without a score, playing melodies and harmonies that one has heard here or there and making them one’s own.

01 – Suite n°1 BWV 1007: I.Prelude
02 – Suite n°1 BWV 1007: II.Allemande
03 – Suite n°1 BWV 1007: III.Courante
04 – Suite n°1 BWV 1007: IV.Sarabande
05 – Suite n°1 BWV 1007: V.Menuet I – Menuet II
06 – Suite n°1 BWV 1007: VI.Gigue
07 – Suite n°2 BWV 1008: I.Prelude
08 – Suite n°2 BWV 1008: II.Allemande
09 – Suite n°2 BWV 1008: III.Courante
10 – Suite n°2 BWV 1008: IV.Sarabande
11 – Suite n°2 BWV 1008: V.Menuet I – Menuet II
12 – Suite n°2 BWV 1008: VI.Gigue
13 – Suite n°3 BWV 1009: I.Prelude
14 – Suite n°3 BWV 1009: II.Allemande
15 – Suite n°3 BWV 1009: III.Courante
16 – Suite n°3 BWV 1009: IV.Sarabande
17 – Suite n°3 BWV 1009: V.Bourrée I – Bourée II
18 – Suite n°3 BWV 1009: VI.Gigue