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  All of which goes to show that if the music of Bach could do without the guitar, the guitar and guitarists have not been able to do without the music of Bach.
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〖Johann Sebastian Bach - Complete Lute Music for Guitar(适于吉他的巴赫琉特琴音乐大全)〗
Bach and Guitar(Cont.)
  In 1921 a German musicologist who also played the guitar, Hans Dagobert Bruger, published in Switzerland an edition of the seven compositions for lute by Bach, drawing on Vol. 45 of the "Bach Gesellschaft" and also on a number of manuscript sources. This edition was intended for a hybrid instrument which was widespread in nineteenth-century Germany and was commonly known as the "liuto bastardo". The instrument had the shape of a lute, with between six and ten single strings, the first six of which were tuned in the same manner as Giuliani and Sor used for the guitar. In many respects, this edition was most unusual, with its vast historical introduction and accurate critical approach, with more than a nod in the direction of philology. Andres Segovia saw it as a sort of pre-transcription for guitar and asked Bruger for his permission to use it as the basis for a number of transcriptions. Segovia's reputation as a concert performer and his many recordings did the rest, which is why from that time until today, playing Bach on the guitar has turned into a "tradition which it seems inappropriate to break with" (Ruggero Chiesa). In purely historical terms, no arguments can be put forward to support playing Bach's music on the modern guitar, which, in its tuning and number of strings, is the result of a progressive transformation. This began around the mid-18th century, from the five-course guitar which is today called "baroque" and took over one hundred years. The shape and sound of what is known as the "classical" guitar did not stabilize until the second half of the nineteenth century, thanks to the contribution made by the Spaniard Antonio de Torres, meaning over a century after Bach had died. Therefore, while it may indeed be wrong to claim that the guitar as such did not exist during Bach's time, it is also true that the guitar as we know it was still a long way off. The baroque guitar had five double strings, known as "courses", lacked any bass register to speak of and was tuned in a decidedly odd fashion. It had indeed aroused the curiosity of Georg Friederich Haendel, who used it to lend a certain colour to his cantata 'Wo se emenderd jamas" with lyrics by Manuel Rincon, Baron of Astorga. Bach, however, would assuredly have been unimpressed by an instrument which it was practically impossible to play polyphonically and would not have touched what was little more than a novelty item. Late seventeenth and early eighteenth century Germany have left posterity with no major guitarists of the calibre of the Italians Francesco Corbetta and Ludovico Roncalli, the Frenchman Robert De Visee or the Spaniard Gaspar Sanz, and it is more than likely that this is related to the late flowering of the lute in Germany, while throughout the rest of Europe this instrument was fast declining towards extinction. It was once argued that guitar and lute were related, but no one would claim this today for the simple reason that there are no grounds for saying so. A lutenist may indeed be more than capable of playing a few tablature pieces on the baroque guitar, but that does not in itself imply a link between two instruments with different styles and techniques. Seventeeth-century guitarists were the first to point out this difference and claim it for their own, although their point was more musical than strictly technical. Francesco Corbetta said as much in the introduction to his book La Guitare Royalle (1671) " ... Je n'ay jamais eu d'autre inclination quc pour la Guitare seule, ma maniere est si differente de celle du Luth, que les personnes qui sy connoissent le verront d'abord...". All of which naturally begs the question: why play the music of Johann Sebastian Bach on the guitar? There are a number of answers - and good ones at that. The curious fact that - quite by chance - this music is eminently suited to the guitar: far more so than many works composed specifically for the instrument during the twentieth century. Or guitarists need to find common ground with other instrumentalists for whom composers have written far more and provided more indications of how to perform their works. Or the unquestionable value these pieces have for teaching and learning the guitar, or indeed music pure and simple. These justifications all make perfect sense, yet pale in comparison with such a statement as that made by pianist Paul Badura-Skoda: "We do not play early music to immerse ourselves spiritually in another era, but because it delights and moves us today".
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〖Johann Sebastian Bach - Complete Lute Music for Guitar(适于吉他的巴赫琉特琴音乐大全)〗


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