Utwory na płycie:

• 1 Präludium, Fuge Und Allegro Es-Dur Bwv 998 (Bearb. Für Gitarre) - Präludium.mp3
• 2 Präludium, Fuge Und Allegro Es-Dur Bwv 998 (Bearb. Für Gitarre) - Fuge.mp3
• 3 Präludium, Fuge Und Allegro Es-Dur Bwv 998 (Bearb. Für Gitarre) - Allegro.mp3
• 4 Sonate Für Flöte A-Moll Bwv 1013 (Partita) (Bearb. Für Gitarre) - 1. Allemande.mp3
• 5 Sonate Für Flöte A-Moll Bwv 1013 (Partita) (Bearb. Für Gitarre) - 2. Courante.mp3
• 6 Sonate Für Flöte A-Moll Bwv 1013 (Partita) (Bearb. Für Gitarre) - 3. Sarabande.mp3
• 7 Sonate Für Flöte A-Moll Bwv 1013 (Partita) (Bearb. Für Gitarre) - 4. Bourée anglaise.mp3
• 8 Partita Für Violine Solo Nr. 2 D-Moll Bwv 1004 (Bearb. Für Gitarre) - 1. Allemande.mp3
• 9 Partita Für Violine Solo Nr. 2 D-Moll Bwv 1004 (Bearb. Für Gitarre) - 2. Courante.mp3
• 10 Partita Für Violine Solo Nr. 2 D-Moll Bwv 1004 (Bearb. Für Gitarre) - 3. Sarabande.mp3
• 11 Partita Für Violine Solo Nr. 2 D-Moll Bwv 1004 (Bearb. Für Gitarre) - 4. Gigue.mp3
• 12 Partita Für Violine Solo Nr. 2 D-Moll Bwv 1004 (Bearb. Für Gitarre) - 5. Ciaconna.mp3

Partita for Solo Flute, BWV 1013
Partita for Solo Violin, BWV 1004
Prelude pour la Luth o Cembal, BWV 998 (arrangements for Eight-string guitar by R. Smits)

“The idea of performing Johann Sebastian Bach on the guitar is not as incongruous as would appear at first sight. There are many examples which show how Bach himself designed a single piece to be performed in different arrangements – because, after all, the music is more important than the instrument. A good transcription or a good arrangement will not question the instrument performing it. It is obvious that – starting with a flute, lute or violin score – I have used the complete range of my eight-stringed Kolya Panhuyzen guitar. The richness of an instrument must serve the music totally without modifying what should be at its heart.” (Raphaëlla Smits)

Raphaëlla Smits fully deserves the title of „grande musicienne“. For 30 years now, she has played in her unique style on eight-stringed guitars and on historic instruments in Western and Eastern Europe, in North and South America and in Japan. Jeanette Vergouwen, critic for De Stem in the Netherlands, wrote about this program: „Bach for solo guitar demands effort and concentration from the audience. When Raphaëlla Smits is the soloist, that presents no difficulty. She achieves it by maintaining the tension and convinces us with an amazing technique and a dynamic performance. She bewitches the audience from start to finish with her stylish sensitivity and her musical authenticity.“