Notes:
- This is a transcription of the entire work except for the “Sonata sopr’ il Soggeto Reale a Traversa, Violino e Continuo.”
- The Canons, the Ricercari and the Fugue have been transcribed for two, three, four and six guitars, in correspondence with J.S. Bach’s two-, three-, four- and six-part writing.
- In Canon IIIb (“Canon 2 a 2 Violini in Unisono”) a contrabass guitar is used, tuned one octave lower than a standard guitar. However, the Canon can also be performed without it, by transposing all the “voices” up an octave.
- In “Ricercare a 6” a guitar tuned up a 4th is used, which can be played by a 7th guitarist or by the 1st guitarist who will switch. There is enough time for the switch since the 2nd guitarist plays polyphonically the parts of guitar 1 and guitar 2.
- Often, in order for a phrase to remain within the guitar’s range or in order to achieve better sonority, the voices are transposed. In those cases, the note is written as an octave chord.
Bach
Preface to the edition
J.S. Bach’s Musical Offering (Musikalisches Opfer) BWV 1079 is one of those works that are characterised as monuments in the history of music. Written in the great cantor’s late years, it is a milestone in the art of polyphony. It is a musical text incomparably rich in ideas, techniques, and expression and it is these qualities that place it above any timbral or orchestration choices.
The present edition aims to provide both guitar ensembles and guitar students with the opportunity to come into contact with such works while communicating through chamber music.
Notes
- This is a transcription for 5 guitars: guitars 4 and 5 (contrabass guitar tuned one octave lower) constitute a pair, complementing one another so that the cello part can be performed its entire range, as written by Handel.
In the few cases where the phrase can be performed by guitar 4, which is tuned regularly, guitar 5 duplicates the melody, in analogy to the cello-double bass relationship.
- In the Overture it is possible (and at the performers’ discretion) for each performer except for guitar 5 (contrabass) to play polyphonically various voice combinations, in order for a richer sound to be achieved. Because these combinations can vary, the present transcription features only the simple monophonic version.
- The “Air” (2nd movement) features a guitar tuned up a 4th. Performance is possible either with the presence of a 6th guitarist or with the transposition of the part of guitar 1 up a 4th and the suitable tuning of the guitar.
Notes
- This transcription is for 2 solo guitars and an ensemble of 5 guitars. Guitars 4 and 5 (contrabass guitar, tuned one octave lower than a standard guitar) constitute a pair, complementing one another, so that the cello part can be performed its entire range, as written by Corelli.
In the few cases where the phrase can be performed by guitar 4, which is tuned regularly, guitar 5 duplicates the melody, in analogy to the cello-double bass relationship.
- In this transcription it will often be noticed that some chords are written using a regular-sized note and smaller notes. The regular-sized note is the main note of the melodic line to be played, and it is also possible (and at the performers’ discretion) to play the chords, too, in order for a richer sound to be achieved.
Notes
1. This is a transcription for 5 guitars. Guitar 5 duplicates guitar 4, in analogy to the cello-double bass relationship.
- It is necessary to use a guitar tuned up a 4th. In movements II and III guitar 1 uses this tuning throughout. In movement I it is used for a few bars. It can be played by a 6th guitarist or by the 1st guitarist who will switch. There is enough time for the switch since guitar 2 plays the part of guitar 1.
- In this transcription, it will often be noticed that some chords are written using a regular-sized note and smaller notes. The regular-sized note is the main note of the melodic line to be played, and it is also possible (and at the performers’ discretion) to play the chords, too, in order for a richer sound to be achieved.
Corelli-Geminiani-Handel
Preface to the edition
Baroque Concerti Grossi are an important source for musicians who look for music written for ensembles. The same is true for guitarists, who look for works written by important composers of the era besides the standard solo literature (Bach, Vivaldi, Weiss etc.).
The present edition aims to provide both guitar ensembles and guitar students with the opportunity to come into contact with such works while communicating through chamber music.