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Judicaël Perroy Born in Paris in 1973, Judicaël Perroy began hisguitar studies at the Paris Academy of Music atthe age of seven and from eleven to fifteen hismain studies were with Raymond Gratien. Anacknowledged prodigy by the age of eleven, hewon numerous prizes culminating with histriumph in October 1997 at the Guitar Foundationof America International Solo Competition,earning him the winner’s tour of the Americas,with over sixty concerts and master-classes. Heis in great demand as a teacher and adjudicatorat numerous international festivals. His studentscontinue to win top prizes in regional, nationaland international competitions worldwide whilehe tours extensively throughout the world alongwith his appearances in duo (Paris Guitar Duo)with the French guitarist Jeremy Jouve since2003. He has made a number of recordings whileteaching at the National Academy of Aulnay-sous-Bois and has been appointed to a teachingposition at the Pôle Supérieur of Lille starting inSeptember 2011.

Photo: Carole Epinette

J. S. BACHTranscriptions for Guitar

Partita No. 2, BWV826 • Suite, BWV997Prelude, Fugue and Allegro, BWV998

Concerto, BWV972Judicaël Perroy

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Johann Sebastian Bach (1685-1750)Transcriptions for GuitarPartita No. 2 in C minor, BWV 826 (arr. Tristan Manoukian)Suite, BWV 997 (arr. Tilman Hoppstock)Prelude, Fugue and Allegro, BWV 998 (arr. Tilman Hoppstock)Concerto in D major (after Vivaldi), BWV 972 (arr. Judicaël Perroy)

Guitarists have been playing the music of J.S. Bach eversince Francisco Tárrega well over a century ago transcribeda few movements from the solo violin suites. Baroquecomposers were generous in re-writing particular pieces fordifferent instruments, and Bach was a shining example ofthis practice. Moreover, the classical guitar can offer hismusic a wide tonal spectrum of colour and variety and iseminently well suited for contrapuntal textures.

Partita No. 2 in C minor, BWV 826, is taken from the sixkeyboard suites, BWV 825-30, published under thecollective heading of Clavierübung (Keyboard Practice)between 1726 and 1730. In the naming of these suitesJ.S. Bach seems to have been influenced by his pre-decessor as Kantor at the Thomasschule, Leipzig, JohannKuhnau (1660-1722), who had used the same title for twovolumes of keyboard music printed in 1689 and 1692. Bachultimately published three further books of Clavierübungbetween 1735 and 1741, these volumes containing suchmasterpieces as the Italian Concerto, BWV 971, a quantityof liturgical organ music, and the renowned GoldbergVariations.

The Partitas, according to the title page, were ‘com-posed for music-lovers, to delight their spirits’. The musichistorian, J.N. Forkel, commented how ‘this work made inits time a great noise in the musical world. Such excellentcompositions for the keyboard had never been seen orheard before.’

The virtuosic nature of Bach’s keyboard writing makesthis a singular challenge for any guitarist. The Partita beginswith a brilliant Sinfonia in three sections, Grave adagio withdotted rhythms in the style of a French overture, a flowingAndante with a walking bass, and a fugal Allegro in twovoices. The second movement, Allemande, is intricatelycontrapuntal, again in two voices. This is followed by aCourante, in the French style in three-two time with much

ornamentation written into the music in the form of rapidsemiquavers. The Sarabande is also highly contrapuntalwith a complex bass line and poignant melodic touches.The fourth movement, called Rondeaux by Bach, is animitative duet between treble and bass, the theme itselfconstructed around a sequence of leaping sevenths. Thefinale, Capriccio, consists of a strict fugue in three parts,all three voices being present at the opening. The twohalves of the Capriccio are precisely equal in length thoughnot symmetrical. The piece is characterized by leaps of atenth in the subject.

The four so-called ‘lute suites’ have been known byvarious designations. In the case of BWV 997, the title‘suite’ does not appear in the chief sources and is indeedcloser to the concept of a sonata da chiesa, though someeditors prefer to describe it as a partita.

It was Dr Hans Dagobert Bruger’s edition of JohannSebastian Bach: Kompositionen für die Laute (JohannSebastian Bach: Compositions for the Lute) in the early1920s which first numbered the four ‘lute’ suites, implyingsome kind of structural unity overall as had occurred withthe cello suites. Research established not only that anumber of transcriptions existed for baroque lute, but alsothat others were probably intended to be played on thelute-harpsichord (a keyboard, strung mainly with gut, whichsounded like a lute) or were also performed in a celloversion.

Several manuscripts of Suite BWV 997 exist in keyboardnotation while an earlier copy of the Prelude, Sarabandeand Gigue is in lute tablature (written out by the lutenist,J.C. Weyrauch). Thus the suite might originally have beenconceived as in three movements, the Fugue and Doubleto the Gigue being added later for the keyboard or the lute-harpsichord. Though the original scoring is in C minor,guitarists usually perform the suite in A minor.

The Prelude and Fugue movements recall concerto-style pairings such as Bach’s BWV 894. The Fugue itself isin da capo form, where the first section is repeated, thoughsometimes slightly modified, at the end. The centralepisode offers a contrasting texture of flowing semiquaverseither in treble or bass in accordance with the part writing.The opening motif of the Sarabande is well known for itssimilarity to the theme of the last movement of the StMatthew Passion, which was in the same key, scored fororchestra and chorus. The Gigue, in sophisticated Frenchstyle, is an energetic dance of great expressiveness. It iscomposed over similar bass patterns as the opening ofthe prelude, and complemented by a superbly brilliantDouble. The great pianist and scholar Rosalyn Tureck des-cribed the Double as ‘an invaluable example of Bach’s ownelaboration of a movement’ and ‘a true metamorphosis ofthe Gigue’ revealing ‘a stunning lesson in embellishmenttreatment’.

Wanda Landowska, the renowned harpsichordist,described the Prelude, Fugue and Allegro, BWV 998, asbeing ‘of incomparable beauty, inspired, spontaneous,without a moment of arduous elaboration,’ and ‘uniqueamong Bach’s works’. Though the indications on the scorePrelude por la lute, ò cembalo, suggest the piece wassuitable for either lute or harpsichord, it may actually havebeen written for the lute-harpsichord.

The Prelude represents a supreme example of the stylebrisé (broken chord style) perfected by seventeenth-century French lutenists and influencing baroque keyboardplayers. The Prelude is thus a complex series of melodicfragments and broken chords with a clearly delineatedbass part. The Fugue, in three voices, is structurally in threeparts (A/B/A), the middle section being an extendedepisode in semiquavers. The brilliant Allegro exemplifiesmany of the attributes of a characteristic Bach Gigue. Ofthis movement Landowska commented: ‘Bach’s art is somasterful that we think we are hearing not two but manyvoices pursuing one another … and, underlying it all, thereis that bass leaping joyously, participating eagerly in theplay of echoes and delighting in chiaroscuro effects.’

At a certain stage of his development, J.S. Bach becamefond of arranging various ensemble music by composers he

admired in compact keyboard versions. At least half adozen of these were based on concertos by Vivaldi, whilefour others by the same composer were arranged for organ.Most of these concertos were contained in a manuscriptprepared by Bach’s cousin, Johann Bernhard Bach. It isbelieved that these arrangements were completed byJ.S. Bach around 1713, shortly after the return of PrinceJohann Ernst from a tour of the Netherlands with acollection of music by Vivaldi and other composers. Thescholar Christoph Wolf has observed how Bach’s encounterwith these Italian concertos ‘confronted him with an entirelynew set of problems and possibilities’, leading to significantadvances in the composer’s creative concepts.

One of Bach’s foremost biographers, Philipp Spitta,commented that ‘by giving more movement to the bass, byadding animation to the inner parts, by supplementing thesolo passages for the violins with counterpoint, by res-olution of the suspensions, and by paraphrasing certain ofthe violin effects, Bach has in most cases produced agenuine work for the clavier, and at the same time essen-tially added to the musical value of the piece.’

Concerto in D major (after Vivaldi), BWV 972, is areduction for harpsichord of Vivaldi’s Violin Concerto inD major, Op. 3, No. 9, from L’estro armonico, RV 230. Thethree movements can be converted to the guitar with noloss of expressiveness and the contrasts between the tutti(or orchestral) passages and the sections where the soloistis prominent can be equally dramatic.

The first movement sets the mood with measured,majestic chords and dotted rhythms, this introductionbeing followed by an allegro movement which the Bachscholar, David Schulenberg, has described as ‘a essen-tially of how much Vivaldi could accomplish in a series ofshort phrases confined to a few harmonies’. The sonorousopening harmonies of the Larghetto lead on to amemorably beautiful theme, concluding with a short repriseof the chordal beginning. The Allegro, a lively dance inthree-eight time, begins with passages in parallel thirds.Parts of the composition are modified by Bach withindividual elements not present in the original Vivaldi.

Graham Wade

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Johann Sebastian Bach (1685-1750)Transcriptions for GuitarPartita No. 2 in C minor, BWV 826 (arr. Tristan Manoukian)Suite, BWV 997 (arr. Tilman Hoppstock)Prelude, Fugue and Allegro, BWV 998 (arr. Tilman Hoppstock)Concerto in D major (after Vivaldi), BWV 972 (arr. Judicaël Perroy)

Guitarists have been playing the music of J.S. Bach eversince Francisco Tárrega well over a century ago transcribeda few movements from the solo violin suites. Baroquecomposers were generous in re-writing particular pieces fordifferent instruments, and Bach was a shining example ofthis practice. Moreover, the classical guitar can offer hismusic a wide tonal spectrum of colour and variety and iseminently well suited for contrapuntal textures.

Partita No. 2 in C minor, BWV 826, is taken from the sixkeyboard suites, BWV 825-30, published under thecollective heading of Clavierübung (Keyboard Practice)between 1726 and 1730. In the naming of these suitesJ.S. Bach seems to have been influenced by his pre-decessor as Kantor at the Thomasschule, Leipzig, JohannKuhnau (1660-1722), who had used the same title for twovolumes of keyboard music printed in 1689 and 1692. Bachultimately published three further books of Clavierübungbetween 1735 and 1741, these volumes containing suchmasterpieces as the Italian Concerto, BWV 971, a quantityof liturgical organ music, and the renowned GoldbergVariations.

The Partitas, according to the title page, were ‘com-posed for music-lovers, to delight their spirits’. The musichistorian, J.N. Forkel, commented how ‘this work made inits time a great noise in the musical world. Such excellentcompositions for the keyboard had never been seen orheard before.’

The virtuosic nature of Bach’s keyboard writing makesthis a singular challenge for any guitarist. The Partita beginswith a brilliant Sinfonia in three sections, Grave adagio withdotted rhythms in the style of a French overture, a flowingAndante with a walking bass, and a fugal Allegro in twovoices. The second movement, Allemande, is intricatelycontrapuntal, again in two voices. This is followed by aCourante, in the French style in three-two time with much

ornamentation written into the music in the form of rapidsemiquavers. The Sarabande is also highly contrapuntalwith a complex bass line and poignant melodic touches.The fourth movement, called Rondeaux by Bach, is animitative duet between treble and bass, the theme itselfconstructed around a sequence of leaping sevenths. Thefinale, Capriccio, consists of a strict fugue in three parts,all three voices being present at the opening. The twohalves of the Capriccio are precisely equal in length thoughnot symmetrical. The piece is characterized by leaps of atenth in the subject.

The four so-called ‘lute suites’ have been known byvarious designations. In the case of BWV 997, the title‘suite’ does not appear in the chief sources and is indeedcloser to the concept of a sonata da chiesa, though someeditors prefer to describe it as a partita.

It was Dr Hans Dagobert Bruger’s edition of JohannSebastian Bach: Kompositionen für die Laute (JohannSebastian Bach: Compositions for the Lute) in the early1920s which first numbered the four ‘lute’ suites, implyingsome kind of structural unity overall as had occurred withthe cello suites. Research established not only that anumber of transcriptions existed for baroque lute, but alsothat others were probably intended to be played on thelute-harpsichord (a keyboard, strung mainly with gut, whichsounded like a lute) or were also performed in a celloversion.

Several manuscripts of Suite BWV 997 exist in keyboardnotation while an earlier copy of the Prelude, Sarabandeand Gigue is in lute tablature (written out by the lutenist,J.C. Weyrauch). Thus the suite might originally have beenconceived as in three movements, the Fugue and Doubleto the Gigue being added later for the keyboard or the lute-harpsichord. Though the original scoring is in C minor,guitarists usually perform the suite in A minor.

The Prelude and Fugue movements recall concerto-style pairings such as Bach’s BWV 894. The Fugue itself isin da capo form, where the first section is repeated, thoughsometimes slightly modified, at the end. The centralepisode offers a contrasting texture of flowing semiquaverseither in treble or bass in accordance with the part writing.The opening motif of the Sarabande is well known for itssimilarity to the theme of the last movement of the StMatthew Passion, which was in the same key, scored fororchestra and chorus. The Gigue, in sophisticated Frenchstyle, is an energetic dance of great expressiveness. It iscomposed over similar bass patterns as the opening ofthe prelude, and complemented by a superbly brilliantDouble. The great pianist and scholar Rosalyn Tureck des-cribed the Double as ‘an invaluable example of Bach’s ownelaboration of a movement’ and ‘a true metamorphosis ofthe Gigue’ revealing ‘a stunning lesson in embellishmenttreatment’.

Wanda Landowska, the renowned harpsichordist,described the Prelude, Fugue and Allegro, BWV 998, asbeing ‘of incomparable beauty, inspired, spontaneous,without a moment of arduous elaboration,’ and ‘uniqueamong Bach’s works’. Though the indications on the scorePrelude por la lute, ò cembalo, suggest the piece wassuitable for either lute or harpsichord, it may actually havebeen written for the lute-harpsichord.

The Prelude represents a supreme example of the stylebrisé (broken chord style) perfected by seventeenth-century French lutenists and influencing baroque keyboardplayers. The Prelude is thus a complex series of melodicfragments and broken chords with a clearly delineatedbass part. The Fugue, in three voices, is structurally in threeparts (A/B/A), the middle section being an extendedepisode in semiquavers. The brilliant Allegro exemplifiesmany of the attributes of a characteristic Bach Gigue. Ofthis movement Landowska commented: ‘Bach’s art is somasterful that we think we are hearing not two but manyvoices pursuing one another … and, underlying it all, thereis that bass leaping joyously, participating eagerly in theplay of echoes and delighting in chiaroscuro effects.’

At a certain stage of his development, J.S. Bach becamefond of arranging various ensemble music by composers he

admired in compact keyboard versions. At least half adozen of these were based on concertos by Vivaldi, whilefour others by the same composer were arranged for organ.Most of these concertos were contained in a manuscriptprepared by Bach’s cousin, Johann Bernhard Bach. It isbelieved that these arrangements were completed byJ.S. Bach around 1713, shortly after the return of PrinceJohann Ernst from a tour of the Netherlands with acollection of music by Vivaldi and other composers. Thescholar Christoph Wolf has observed how Bach’s encounterwith these Italian concertos ‘confronted him with an entirelynew set of problems and possibilities’, leading to significantadvances in the composer’s creative concepts.

One of Bach’s foremost biographers, Philipp Spitta,commented that ‘by giving more movement to the bass, byadding animation to the inner parts, by supplementing thesolo passages for the violins with counterpoint, by res-olution of the suspensions, and by paraphrasing certain ofthe violin effects, Bach has in most cases produced agenuine work for the clavier, and at the same time essen-tially added to the musical value of the piece.’

Concerto in D major (after Vivaldi), BWV 972, is areduction for harpsichord of Vivaldi’s Violin Concerto inD major, Op. 3, No. 9, from L’estro armonico, RV 230. Thethree movements can be converted to the guitar with noloss of expressiveness and the contrasts between the tutti(or orchestral) passages and the sections where the soloistis prominent can be equally dramatic.

The first movement sets the mood with measured,majestic chords and dotted rhythms, this introductionbeing followed by an allegro movement which the Bachscholar, David Schulenberg, has described as ‘a essen-tially of how much Vivaldi could accomplish in a series ofshort phrases confined to a few harmonies’. The sonorousopening harmonies of the Larghetto lead on to amemorably beautiful theme, concluding with a short repriseof the chordal beginning. The Allegro, a lively dance inthree-eight time, begins with passages in parallel thirds.Parts of the composition are modified by Bach withindividual elements not present in the original Vivaldi.

Graham Wade

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Judicaël Perroy Born in Paris in 1973, Judicaël Perroy began hisguitar studies at the Paris Academy of Music atthe age of seven and from eleven to fifteen hismain studies were with Raymond Gratien. Anacknowledged prodigy by the age of eleven, hewon numerous prizes culminating with histriumph in October 1997 at the Guitar Foundationof America International Solo Competition,earning him the winner’s tour of the Americas,with over sixty concerts and master-classes. Heis in great demand as a teacher and adjudicatorat numerous international festivals. His studentscontinue to win top prizes in regional, nationaland international competitions worldwide whilehe tours extensively throughout the world alongwith his appearances in duo (Paris Guitar Duo)with the French guitarist Jeremy Jouve since2003. He has made a number of recordings whileteaching at the National Academy of Aulnay-sous-Bois and has been appointed to a teachingposition at the Pôle Supérieur of Lille starting inSeptember 2011.

Photo: Carole Epinette

J. S. BACHTranscriptions for Guitar

Partita No. 2, BWV826 • Suite, BWV997Prelude, Fugue and Allegro, BWV998

Concerto, BWV972Judicaël Perroy

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8.550274

8.555369 8.570286

Also available:

8.553193

GUITAR

COLLECTION

KYMC

It was Francisco Tárrega, composer and guitarist, who first transcribed Bach’s music for hisown instrument, offering colour, tonal variety and clarity in an exploration of counterpoint.Tristan Manoukian’s transcription of the Partita No. 2 honours the precedent in its virtuosicand expressive writing. It is possible that the Suite and the Prelude, Fugue and Allegro wereoriginally conceived for the so-called “lute-harpsichord”, a keyboard strung with gut thatsounded like a lute. Bach’s version of Vivaldi’s Violin Concerto transforms and refashions it,and the guitar transcription is perfectly suited to convey the richness of its invention. Prize-winning guitarist Judicaël Perroy is one of the most exciting talents to have emerged in years.

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Johann SebastianBACH (1685–1750)

Judicaël Perroy, GuitarRecorded at St John Chrysostom Church, Newmarket, Canada, 22–25 April 2010

Producers: Norbert Kraft, Bonnie Silver • Engineer & Editor: Norbert Kraft • Booklet notes: Graham Wade Editions used: Production D’Oz (tracks 1–6); PRIM-Musikverlag Darmstadt (7–13); manuscript (14–16)

Guitar: Greg Smallman, Australia • Cover image © Ragip Candan / iStockphoto.com

Playing Time70:56

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Partita No. 2 in C minor, BWV826 26:06(Arr. Tristan Manoukian)

1 Sinfonia 5:512 Allemande 6:593 Courante 2:514 Sarabande 4:435 Rondeaux 1:406 Capriccio 3:55

Suite, BWV997 23:11(Arr. Tilman Hoppstock)

7 Prelude 3:268 Fugue 7:229 Sarabande 6:510 Gigue 5:27

Prelude, Fugue and Allegro, BWV998 11:36(Arr. Tilman Hoppstock)

! Prelude 3:12@ Fugue 5:33# Allegro 2:50

Concerto in D major (after Vivaldi), BWV972 9:54(Arr. Judicaël Perroy)

$ I. (Allegro) 2:37% II. (Larghetto) 4:41^ III. (Allegro) 2:31

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