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Track Listings
| 1. "Suite No. 1 in E minor for Lute, BWV 996" | |||
| 2. "Suite (Partita) in A minor, BWV 997 (originally in C minor)" | |||
| 3. "Lute Suite No. 4 in E Major, BWV 1006a" | |||
| 4. "Suite in A minor for Lute, BWV 995" | |||
| 5. I. Passaggio - Presto | |||
| 6. II. Allemande | |||
| 7. III. Courante | |||
| 8. IV. [Sarabande] | |||
| 9. V. Bourrée | |||
| 10. VI. [Gigue] | |||
| 11. I. Preludio - Fuga | |||
| 12. II. Sarabande | |||
| 13. III. Gigue - Double | |||
| 14. I. Prélude | |||
| 15. II. Loure | |||
| 16. III. Gavotte en Rondeau | |||
| 17. IV. Menuetts I & II | |||
| 18. V. Bourrée | |||
| 19. VI. Gigue | |||
| 20. I. Präludium - Presto | |||
See all 25 tracks on this disc
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Customer Reviews
Most Helpful Customer Reviews
12 of 12 people found the following review helpful
Format:Audio CD
An impulse buy to 'fill a gap' in the collection but one of the most relaxing and enjoyable CD's bought for some time. If you're looking for an accurate and musical rendition of this music, you couldn't do better.
3 of 12 people found the following review helpful
Format:Audio CD
If you want a performance played on the lute, don't buy this CD.
It is played on guitar.
I got caught on this ... not happy at all.
It is played on guitar.
I got caught on this ... not happy at all.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
10 reviews
9 of 9 people found the following review helpful
Still An Important Milestone
19 Dec 2007
Format:Audio CD
Williams' was the first complete recording of the suites I'd ever heard and at that time I was just overwhelmed by the flawless technique. The recording captures a special time for me during my initial "guitar freak phase" and I still enjoy hearing it. But musically, I've heard so many expressive players on different instruments since (not the least of which Casals and Gould) that, as far as Bach on the guitar goes, I now prefer Sharon Isbin's recording of the suites on Virgin, both for her tone and phrasing. And if I'm in a lute-mood, Bream is still my guy. But Williams set the bar with this recording as far as I'm concerned and, for guitarists of all bents, it's a must have.
6 of 6 people found the following review helpful
a must have
24 Oct 2008
Format:Audio CD
This is one of the best classical guitar recordings out there and in my opinion one of the great recordings of Bach's music written for solo instrument. A powerful, straight ahead reading of the lute suites. At some point you stop hearing the guitar and start hearing just the music itself. Buy this one.
2 of 2 people found the following review helpful
just plain great music
3 Dec 2010
Format:Audio CD
This recording had to do some work to win me over, but it did. I'm not fond of transcribed music; I like music with original instrumentation. To me, lute music is for lutes, not guitars; harpsichord is for harpsichords, not pianos. This is the first transcribed album I liked well enough to buy at the first go around. It is simply marvelous; and while there are passages where I would prefer the quickness and sharpness of a lute, I have grown to love this one. I'm not much of a classical guitar fan, either, but I finally realized why this music appeals to me: It is the work of a real composer, with length and depth and variety and purpose.
I have always thought that when J.S. Bach imagined music, he imagined it on a harpsichord. I think this weakens his string music; the endless sawing away of violins on eighth and sixteenth notes--far better suited to a harpsichord--irritates me. But with the guitar or lute, it works much better. And when Bach (through Williams) slows down and lets the melody speak... heavenly.
What Williams has done, that matches the harpsichord paradigm, is play the guitar (as others have noted) with two voices, as with the upper and lower keyboards of a harpsichord. In this I think he has gotten inside JSB's mind, and understands what Bach was doing. I have never heard anyone else pull off the two-voice effect like this. Almost three-dimensional. Marvelous.
I have always thought that when J.S. Bach imagined music, he imagined it on a harpsichord. I think this weakens his string music; the endless sawing away of violins on eighth and sixteenth notes--far better suited to a harpsichord--irritates me. But with the guitar or lute, it works much better. And when Bach (through Williams) slows down and lets the melody speak... heavenly.
What Williams has done, that matches the harpsichord paradigm, is play the guitar (as others have noted) with two voices, as with the upper and lower keyboards of a harpsichord. In this I think he has gotten inside JSB's mind, and understands what Bach was doing. I have never heard anyone else pull off the two-voice effect like this. Almost three-dimensional. Marvelous.
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