that Bach's melody never grows old. It remains ever fair and young,
like nature, from which it is derived."
(J. N. Forkel, 1802)
"I have well
received and listened your wonderful CD with Bach music. I really enjoyed
it very much. For a lover of saxophone, it is a "tour de force" with always
very great musicality. Please accept my best felicitations for this beautiful
realisation. With my best homages."
Jean Chatillon,
Composer, Canada
IN PERFORMING these works on soprano and alto saxophone, I maintain the original
key and form, in accordance with the standard editions of Bach's own manuscripts.
The only alteration is the octave transposition of the cello suite; the modern cello of today sounds one octave lower then the
alto saxophone. However, Bach intended the sixth suite to be performed
on a piccolo cello in order to facilitate the playing of the extended
upper range, which he utilized composing in this, his final suite for
unaccompanied cello. Hence, the range of the alto saxophone more than
grants the composer's wish.
The violin partita, also the last of the six works for solo violin, is
equally enhanced by the sonority of the soprano saxophone. The flute partita,
performed on soprano saxophone as well, mimics the timbre of the Baroque
era transverse flute. Although the occasional appearance of double-stops
in the violin partita and the cello suite challenges the saxophonist,
Bach's impeccable counterpoint allows the single-line instrument to remodel
these as arpeggios.
J.S. BACH (1685-1750) composed all of his unaccompanied music for violin, cello and flute from 1718-1725, seven dramatic years marked by trauma and change - the title page for one of the cello suites reads "lonely but free." The flute partita dates from 1718, while Bach served Prince Leopold as Kapellmeister at Cöthen. In 1720 Bach completed the cycle of violin partitas even as his first wife Marie Barbara (1685-1720) passed away. In November of the same year Bach visited Hamburg, and was offered a post as organist at the Jakobikirche, which he declined. The sixth cello suite was written during an eventful 1725: Bach was working as Thomaskantor in Leipzig, his tenth child, Christian Gottlieb was born, and his forerunner Scarlatti died. All three compositions are based on the traditional baroque dance suite from (i.e. allemande, courante, sarabande, etc.). Bach's use of these dance forms marked an artistic high point of the genre. Had the saxophone been invented 125 years earlier, Bach and his contemporaries would undoubtedly have written for the instrument - while praising its multi-faceted tone color and dynamics.
Listen to excerpts from
Absolut Bach
Flute Partita,
A Minor BWV 1013
Allemande
Courante
Sarabande
Bourrée
Cello Suite No. 6,
D Major BWV 1012
Prélude
Allemande
Courante
Sarabande
Gavotte I and II
Gigue
Violin Partita No. 3,
E Major BWV 1006
Prélude
Loure
Gavotte et Rondeau
Menuet I and II
Bourrée
Gigue
Copyright © 2003 Swedish
Poet Productions
classicalsaxophonist.com
photos: Thomas Erker
webmaster: Amy Bauer