Bach Two Generations

We all know that American music programs in almost all schools are under funded. I am offering this Bach recording as a free down load but I wanted to give you the opportunity to contribute any amount of money to the D'Addario Foundation which is committed to making music education accessible to all.

You know how wonderful it is to have an instrument in your hands and to make music with it. Now in some school there is a young Jimi Hendrix or a Joni Mitchell bursting with creativity but not able to express it because he or she can't afford a guitar. Below is the link and whatever amount you donate will go towards guitar programs in under funded schools.

Download Bach Two Generations

I recently “rediscovered” my CD Bach Two Generations. It was my second full length recording. The repertoire I had intended for my first Bach recording was to be Bach’s Cello Suite #6 (BWV #1012) and the A Major C.P.E. Bach Concerto.

I can still remember Anthony Newman sitting at my kitchen table in 1978 suggesting that I should learn and record the 6th Cello Suite. At the time, my colleagues were recording the Lute music of Bach. The most commonly recorded cello suites at the time were suites 1 and 3. No one to my knowledge had recorded the 6th. I developed a profound love of the piece from the opening statement of the Prelude right to the last note of the Gigue.

It was my dear friend flutist extraordinaire Keith Underwood that suggested the A major C.P.E. concerto. It was such a natural choice as the composer made three versions of the piece. It exists for flute, cello and harpsichord so… why not guitar? I worked from each version to create my arrangement. It was an exhilarating experience. Anthony Newman along with the Laurentian String Quartet and bassist Dennis Massuzo agreed to record it with me. There were two rehearsals prior to the recording.

The company Sine-Qua Non was very interested in releasing a Bach cassette of mine but did not want the combination of a solo/ concerto recording. The idea of combining a solo work and a concerto was inspired by a Segovia LP.

I then learned and recorded J.S. Bach’s second Violin Sonata (BWV #1003). It seemed a natural choice because it was a master piece, it had not been recorded on the guitar and it paired well with the 6th Cello Suite. In addition, like the Cello Suite to my knowledge it had not been recorded. Keep in mind this was long before You Tube!  Many of you reading this might not know what a cassette is! Subsequently the cassette entitled Bach Transcriptions was released.

I was then left with a recording of the C.P.E. Bach concerto that had no home. I approached the owner of Musical Heritage Society Jeffrey Nissim who offered to release the recording if I could couple it with another concerto.

Again Anthony Newman suggested I arrange the Bach violin arrangement of the D minor Harpsichord Concerto, which is considered by many to be one of Bach’s greatest masterpieces. I hurried down to Patelson’s music and bought the score and began learning it that night.

As I recall we had one rehearsal and the next thing I knew we were in the church recording. I remember there being two microphones only. Both the Bach Transcriptions recording and this recording were what we would refer today as “old school” recordings. They were recorded analog and edited by one of the best engineers working at the time, David Hancock. He was a joy to work with and was a splicing wizard! I’m not so sure they are not my finest sounding recordings. I learned a lot from working with such a masterful engineer so early in my career.

I recorded the C.P.E. on a Thomas Humphrey guitar and the J.S. Bach on a John Gilbert guitar.

I am forever indebted to my mentor and dearest friend Anthony Newman who was so generous with his time and artistry given his insanely busy schedule at the time. Both he and his wife Mary Jane were a tremendous musical influence in the years of this recording and my solo Bach recording.

I must also thank the Laurentian String Quartet and bassist Dennis Masuzzo. In addition, I owe an enormous thanks to my wife Rie Schmidt who helped tremendously with the final editing.

Finally I must thank my dear friend Jim D’Addario with out whom these recordings might not have been made.

It is a great pleasure to offer this recording to those who want to hear it.
As always, peace love, guitars and concerti!