Johann Sebastian Bach Suite for Violincello No.

2 BWV 1008 (arranged for guitar by

Andrew Zohn)
This suite is the second of six cello suites written by Bach during a period of
particularly productive instrumental writing. It follows the well-known suite in G- the
prelude of which is one of the most widely known pieces of instrumental music. (Its
that cello piece that everyone has heard) In contrast to the optimism presented by
the first suite, the second cello suite, to me, represents a devastating realism. The
original was written in D minor, (here transcribed to A minor for the guitar) and
harkens to the violin partita No. 2 in D minor. This violin work contains the famous
Chaconne, regarded as an expression of the grief Bach experienced upon returning
to his post from sabbatical to find his wife dead and buried. The work is a shorter
suite, with movements following this pattern- Prelude, Allemande, Courante,
Sarabande, Minuets I, II, and Gigue. Many of the movements have common
thematic material, and apart from the Prelude all follow an even, binary form.

Fernando Sor - Introduction and Variations on a Theme by Mozart, Op. 9

Other than his Etudes for the Guitar, this is the most famous work for guitar
by Fernando Sor. Based on a marginal theme from Mozarts The Magic Flute and
taken through a series of variations typical of much of Sors early output, The
Introduction and Variations on a Theme by Mozart is a transcendent piece that
accurately represents the amazing facility Fernando Sor had for guitar writing. Sor is
often described as a composer first, and a guitarist second. He composed one of the
most popular ballets of his epoch, and, in my opinion, this piece is an embodiment
of his sentiment for the guitar. The original manuscript is inscribed with the
following quote: As performed by the author, at the Nobilities Concerts. This title
suggests that the original work would have been popular at the social gatherings
the composer would have attended, but may not have garnered as much
representation in the concert hall, as typical for much guitar literature of the time.
None the less, the work has withstood the test of time.

Vicente Asencio Suite Valenciana

Vicente Asencio is a key figure in modern Spanish music. Much guitar
literature traces its history to Spain, with romantic composers like Torroba, Tarrega,
Albinez, and Granados typifying the music of the region. With the exception of
Joaquin Rodrigo, rarely is Spanish modernity heard on the guitar. In this field, the
guitar has the great privilege of contributions from Vicente Asencio. The Suite
Valenciana is an homage to the city the composer was born and died in. It is a
three-movement work: Preludi, Canoneta, and Dansa. The music is very lyrical,
recalling the dark tonality of Flamenco music. While it is a demanding piece for the
performer, it is never awkward on the instrument.

Toru Takemitsu To the Edge of Dream

The guitar world has the privilege of claiming Toru Takemitsu as a player as
well as one of its great composers. This is the first of three concerti including the
guitar, and is a good representation of his late style. This later style is typified by
heavy motivic development, to the point where no central theme may ever be
stated, but instead the listener is presented with a continuing variation of themes
and ideas consciously linked. The opening gesture in the guitar presents a very
guitar-friendly E minor seventh chord that evolves into further and further
dissonances in the guitar, all imposed over a pedal E on the open sixth string. This E
minor seventh returns halfway through the piece in a kind of recapitulation of the
opening gesture, before again devolving into further dissonances as the guitar
moves into an extended solo cadenza, recalling several gestures from earlier in the
piece. As the guitar comes to rest on B, the Orchestra (piano in this reduction)
enters, melodically restating several sonorities it presented earlier in the piece. The
guitar suspends its moment of rest by juxtaposing various octaves and unisons of a
single note, B, before finally imbedding itself within a massive B major 13 chord.