Arrangements and transcriptions

In 2017 I started work on an arrangement of Bach’s Goldberg Variations for violin, guitar and cello for a concert at the lovely Studio Music series in Brightlingsea.

I very quickly realised that it wasn’t a particularly good idea. Distributing the parts between the instruments was problematic (the range of the guitar and cello are very similar), as was finding idiomatic ways to treat the passagework.

Unfortunately, by this time, the concert programme had already been printed leaving me with no other option than to put my anxiety to one side and continue. Luckily, I had two factors on my side while working on this project: Bach’s wonderful counterpoint and, in Craig Ogden, a virtuoso guitarist whose technical accomplishment is matched only by his Aussie ability to remain unruffled in the face of any challenge. Listeners may notice that the guitar and the cello are often exploring the upper reaches of their range. (The violin part lies very comfortably though!).

I found that the different colours and attack of the three instruments complemented one another beautifully while providing just the right degree of contrast. It was also possible to emulate the passages Bach wrote for a double keyboard while the guitar’s rhythmic energy and incision, like a harpsichord’s, allows his counterpoint to emerge with real clarity.’

I’ve tried to stay as faithful to Bach’s score as possible and also to remain in a sound world that would have been familiar to him.  We’ve found that the different colours and attack of the three instruments complement one another well and create just the right degree of contrast. It was also possible to emulate the passages Bach wrote for a double keyboard while the guitar’s rhythmic energy and incision, like a harpsichord’s, allows his counterpoint to emerge with real clarity.

Had I been more sensible this project may never have happened but an enthusiastic audience and our enjoyment of new music to explore encouraged us to continue.  We’re delighted that it’s final resulted, not only in our recording, but also in the publication of the score and parts for other musicians seeking new repertoire. D.J.