Volume 2 of this series contains suites III and IV of the unaccompanied Bach cello suites. Arranged for lever harp or pedal harp – intermediate to upper intermediate.
Foreword: While it is judicious to play the Suites on a monodic instrumnt, it is much more difficult to transcribe them for a polyphonic one. The harmony is so well integrated in Bach’s writing that to add anything to his music seems criminal. Yet I ventured to do so, for the sheer pleasure of being able to play these masterpieces and do them justice. The original text being too low for harp, I transposed it up one octave and decided to add an occasional bass note when necessary to give it more body. I have tried to render the subtle bowing, articulation and fullness of the cello while bringing out the harp. My approach is quite different from Marcel Grandjony’s on Bach’s violin Sonats and Partitas. Like cellists, harpists must always think about phrasing, legato and tempo in order to build up their own interpretation.
This collection contains:
Suite III BWV 1009: Prelude, Allemande, Courante, Sarabande, Bourrée 1, Bourrée 2, Gigue
Suite IV BWV 1010: Prélude, Allemande, Courante, Sarabande, Bourrée 1, Bourrée 2, Gigue
Pure and straightforward, not necessarily easy, but staying true to original harmony and style. Not full like Grandjany’s interpretation. These are much more playable than his, more attainable. Not knocking Grandjany’s intrepretations (studied them in college using his markings as I am 2nd generation Grandjany), but I could learn and play these in much less time. Significant amount of accidentals – lever or pedal changes are not marked. No fingerings. These are significant works. Some of the faster movements would lend themselves much better to pedal harp.