CLASSICAL: Antonella Ciccozzi, harp (1810 S.Herard 43 strings), Marco Rogliano violin, Luca Paccagnella, cello.24Bit / 96Khz digital recording made at Main Hall Fondazione Musicale Masiero e Centanin Arquà Petrarca (Italy) on January 14, 2004.
From the CD notes By Antonella Ciccozzi
Notwithstanding the immense number of works produced by the most important members of the Bach family only a small amount is composed for the harp, though greatly enriching its repertoire. By bringing their works together I have compared two generations of the Bach family (John Sebastian 1685 - 1150; CPh. Emanuel1114 - 1188 and John Christian 1135 - 1182), with their diverse trends; styles and significance. The opening Suite in E major BWV l006a by J.S. Bach, an autograph transcription written on two pentagrams (bass and soprano clefs) from the third Partita for violin BWV 1006, has no explicit instrumental indication. Its particular use of the middle-bass range, which characterises the work, leads one to preclude keyboard instruments while tending to suggest the lute or harp. Yet the performance of this Suite (more commonly assigned to the lute) is neglected in the harp repertoire if not first transcribed or transformed into other tonalities. Therefore, after having assessed the feasibility of performing it on the harp, the version I propose is the ORIGINAL J..S. Bach transcription. Its correlation to the harp could be confirmed by the presumed date of the composition of the Suite (circa1720) which coincides with the appearance of the first single-action pedal harp. Although this circumstance may be a mere coincidence, considering the rather limited nature of the mechanics of the harp (which would not have permitted the performance of such an articulated work), these new technical developments could well have been an inspiration for this composition.
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