Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive.
Johann Sebastian Bach played the violin “cleanly and with a penetrating tone…” At the time his son CPE Bach wrote this phrase to a musicologist and Bach’s early biographer Johann Nikolaus Forkel in 1774, the Sonatas and Partitas for Solo Violin were known to a relatively small but steadily growing circle of enthusiasts. Although the demand problem was eventually solved by the appearance of the first printed editions around the turn of the century, it took another five decades before Bach’s sonatas and partitas came to the attention of a broader public. Arrangements of the violin solos for other instruments offer new expressive opportunities. For this album, Florian Klaus Rumpf has transcribed and recorded the first three of the six violin solos for the mandolin. Florian Klaus Rumpf decided to begin studying mandolin at the age of seven. In 2006 Florian entered the University of Music and Dance in Wuppertal, where he studied the modern mandolin and a wide range of historical instruments, including the six-course Baroque mandolin and the 8-course mandolone. He is in high demand as a soloist, tutor, and conductor of mandolin orchestras.
Leading early music expert Winsome Evans presents the final chapter in her ground-breaking project to transcribe and record Bach’s solo instrumental works for the harpsichord, with the Six Cello Suites and Partita for Solo Flute. Evans’ project, some 30 years in the making, is based on evidence that Bach himself played his solo instrumental works on the keyboard – including the statement of a former student that Bach often played the solo violin and cello works ‘on the clavier, adding as much in the nature of harmony as he found necessary’. The harmonies added by Evans to the solo works are inspired by methods from Bach’s own time.