J. S. Bach, Sonata (Suite) BWV 997 in c-Moll:
Prelude - Fuga - Sarabande - Gigue & Double
Performed by Svetoslav Costoff on the 21st of May 2020 in the Ursula-Mamlok-Hall in Berlin.
Original transcription for Guitar by Svetoslav Costoff.
The music of Johann Sebastian Bach (born on the 21st of March, 1685 in Eisenach; died on the 27th of July, 1750 in Leipzig) is considered today as the culmination in tone creations of all times.
The Sonata in C minor - BWV 997 is one of Bach’s latest works to be played on the guitar today. Written around 1740, this cycle is a hybrid: the first half (Prelude and Fuga) is a clear indication of the form of a Sonata da Chiesa (church sonata), while the second half (Sarabande and Gigue & Double) points to a suite. It can be assumed that Bach himself did not write a title for that cycle (the original manuscript is unfortunately not available), because in 14 of the 16 copies, there is no title at all or it is simply written as "C - Moll". The cycle entitled as a Partita (Suite) appears only in a single copy for lute by Johann Christian Weyrauch (notary and lutenist, 1694-1771) from 1740, in which the Fuga and Double are omitted. Therefore, the most reliable copy is likely from 1741 by the music theorist and composer Johann Philipp Kirnberger (1721-1783), which mentions the title as a sonata: “Klavier Sonata von Joh. Sebastian Bach”.
As in all of Bach’s compositions, the New Testament and the life of Christ are behind the notes in each and every movement of the Sonata BWV 997. A church sonata, according to the old
Christian tradition, is a representation of the cycle of life - Christ is up in the skies by his Father - the entire cycle is often reflected in this opening music-, then he comes down on earth, suffers and dies, and rises up again into the heavenly heights. The Prelude represents the condition of being-in-heaven-bliss and also contains the whole cycle through the triple structure: harmoniously-dramatically-harmoniously. The Fuga, with its descending sevenths, represents His coming down on earth. And through the slow Sarabande, the listener can relive the suffering of Christ and his death on the cross in the name of love. Here Bach uses a changed version of the opening motif from the final movement of the St. Matthew Passion BWV 244, which is also a Sarabande in C minor, and reinforces the church sonata function of this work by indirectly corresponding this instrumental music with the closing words of the Passion: "We sit down with tears and cry out to You in your grave: Rest gently, gently rest'".
In conclusion, the listener experiences, through the rhythm of the Gigue, the bubbling new life after the resurrection, which does not occur in the Passion. The Double makes the effect of resurrection even stronger.
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Негізгі бет BWV 997 complete on guitar!
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