JS Bach - Solo: Arrangements for Saxophone
£14.73
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Label: Challenge Classics
Cat No: CC72950
Format: Hybrid SACD
Number of Discs: 1
Genre: Instrumental
Release Date: 26th May 2023
Contents
Works
Chromatic Fantasia and Fugue in D minor, BWV903 » Fantasia (arr. Raaf Hekkema for saxophone)
Fantasia in A minor, BWV922 (arr. Raaf Hekkema for saxophone)Partita for solo flute in A minor, BWV1013 (arr. Raaf Hekkema for saxophone)
Prelude, Fugue and Allegro in E flat major, BWV998
» Allegro (arr. Raaf Hekkema for saxophone)
» Prelude (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.1 in G minor, BWV1001 » I Adagio (arr. Raaf Hekkema for saxophone)
» IV Presto (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.2 in A minor, BWV1003 » I Grave (arr. Raaf Hekkema for saxophone)
» IV Allegro (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.3 in C major, BWV1005 » III Largo (arr. Raaf Hekkema for saxophone)
» IV Allegro assai (arr. Raaf Hekkema for saxophone)
Artists
Raaf Hekkema (saxophones)Works
Chromatic Fantasia and Fugue in D minor, BWV903 » Fantasia (arr. Raaf Hekkema for saxophone)
Fantasia in A minor, BWV922 (arr. Raaf Hekkema for saxophone)Partita for solo flute in A minor, BWV1013 (arr. Raaf Hekkema for saxophone)
Prelude, Fugue and Allegro in E flat major, BWV998
» Allegro (arr. Raaf Hekkema for saxophone)
» Prelude (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.1 in G minor, BWV1001 » I Adagio (arr. Raaf Hekkema for saxophone)
» IV Presto (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.2 in A minor, BWV1003 » I Grave (arr. Raaf Hekkema for saxophone)
» IV Allegro (arr. Raaf Hekkema for saxophone)
Sonata for solo violin no.3 in C major, BWV1005 » III Largo (arr. Raaf Hekkema for saxophone)
» IV Allegro assai (arr. Raaf Hekkema for saxophone)
Artists
Raaf Hekkema (saxophones)About
Virtuoso classical saxophone player Raaf Hekkema presents Solo, a new solo album of works by J.S. Bach.
'The pandemic in 2020-21 brought little to dispel the gloom among performing musicians
'But these months also proved to be a time of reflection and artistic rebirth for many, the arts became a breeding ground for spiritual offspring, and so it proved for me; the genesis of the work you can hear on this album. Finally, there was plenty of time to spend many hours every day working on the project against a background of calm, which made Bach's music all the more comforting!
'The prime cut with which I open this album is the Sonata I have assembled from Bach's three sonatas for solo violin. Even though a sonata in six movements may go against musical tradition, I feel it is a very satisfactory solution from a musical perspective.
'Soon after this, I cast my greedy eye over the earlier works for organ and harpsichord. The Chromatic Fantasia symbolises early Bach for me; a composer who was heavily influenced by the fantastical style of his idol and predecessor Dieterich Buxtehude.
'I made a pilgrimage to my own hero of early music, Ton Koopman. His enthusiasm for my arrangements grew as our meeting progressed. I am deeply grateful to him for his generous assistance.
'The Fantasia BWV 922 seemed to be a bigger task altogether. I was keen to let my own creative juices flow in order to adapt the texture in such a way that I could still do the greatest justice to the music's harmonic complexity and sweeping argument.
'Before this, however, I had already set about arranging Bach's most famous organ work, the Toccata and Fugue. Generally, I would describe it as a good idea to avoid fugues for what I have in mind, but this one was relatively straightforward for me.
'My arrangement of the Partita BWV 1013 is perhaps the simplest of all my Bach transcriptions. All I had to do was transpose this into a key I considered to be better suited to my instrument. I play it on a 1924 curved Buescher soprano saxophone with a matching Buescher mouthpiece. Using historical saxophones may result in a lighter and more transparent sound.
'The same argument also applies to the Prelude and Allegro from BWV 998, which I recorded on a straight Buescher alto saxophone made in 1927.'
'With this fourth solo album (of which three were released by Challenge Classics) Raaf Hekkema has constituted a Guide to the Saxophone that is not only ideal for saxophonists, and conservatoria but also for multiple other interested parties.' - HRAudio.net (Performance 5 stars / Sonics 5 stars)
'The pandemic in 2020-21 brought little to dispel the gloom among performing musicians
'But these months also proved to be a time of reflection and artistic rebirth for many, the arts became a breeding ground for spiritual offspring, and so it proved for me; the genesis of the work you can hear on this album. Finally, there was plenty of time to spend many hours every day working on the project against a background of calm, which made Bach's music all the more comforting!
'The prime cut with which I open this album is the Sonata I have assembled from Bach's three sonatas for solo violin. Even though a sonata in six movements may go against musical tradition, I feel it is a very satisfactory solution from a musical perspective.
'Soon after this, I cast my greedy eye over the earlier works for organ and harpsichord. The Chromatic Fantasia symbolises early Bach for me; a composer who was heavily influenced by the fantastical style of his idol and predecessor Dieterich Buxtehude.
'I made a pilgrimage to my own hero of early music, Ton Koopman. His enthusiasm for my arrangements grew as our meeting progressed. I am deeply grateful to him for his generous assistance.
'The Fantasia BWV 922 seemed to be a bigger task altogether. I was keen to let my own creative juices flow in order to adapt the texture in such a way that I could still do the greatest justice to the music's harmonic complexity and sweeping argument.
'Before this, however, I had already set about arranging Bach's most famous organ work, the Toccata and Fugue. Generally, I would describe it as a good idea to avoid fugues for what I have in mind, but this one was relatively straightforward for me.
'My arrangement of the Partita BWV 1013 is perhaps the simplest of all my Bach transcriptions. All I had to do was transpose this into a key I considered to be better suited to my instrument. I play it on a 1924 curved Buescher soprano saxophone with a matching Buescher mouthpiece. Using historical saxophones may result in a lighter and more transparent sound.
'The same argument also applies to the Prelude and Allegro from BWV 998, which I recorded on a straight Buescher alto saxophone made in 1927.'
- Raaf Hekkema
'With this fourth solo album (of which three were released by Challenge Classics) Raaf Hekkema has constituted a Guide to the Saxophone that is not only ideal for saxophonists, and conservatoria but also for multiple other interested parties.' - HRAudio.net (Performance 5 stars / Sonics 5 stars)
Reviews
With this fourth solo album (of which three were released by Challenge Classics) Raaf Hekkema has constituted a Guide to the Saxophone that is not only ideal for saxophonists, and conservatoria but also for multiple other interested parties.HRAudio.net
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