I was lucky to find and buy one of your transcription of Weiss work (Dresden 50) while I was visiting an international fair in Shanghai (Music China) late october. Congratulation, I consider you did a masterwork on music and fingering. It doesn’t mean the piece is easy to play but fingering is really logical (that’s quite rare) and we can concentrate on music. Mainly, the spirit of Weiss work is perfectly transcribed for the guitar. Thanks Ben for the incredible work you’re doing, it’s really rare to find transcriptions of this level of quality (at least talking about Dresden WSW 50 but I’m sure the others play in the same league). Once again, I’m a great admirer of your work as I can imagine the dedication requested to make the arrangement from Lute to Guitar with this level of quality (and good idea to tune the g string to f#). What I appreciate is that we can play the piece without headaches with strange fingerings or some illogical things. Do you have other transcriptions of Weiss work (and other composer) available ? Tell me I’m interested !
Marc Rouve, France
Silvius Leopold Weiss, Sonata XXVII (WSW 50)
“
Congratulations ! And many Thanks. An incredible clever transcription which doesn't forget any detail of the intricate polyphony. Hats off !!!
Gilles Tordjman, Paris France (Delcamp classical guitar forum)
Sonata K 213 Domenico Scarlatti
“
I agree that this piece sounds better in A minor. Tom Leisek performs it in A minor on his CD "L'Esprit du Baroque", along with several other pieces by Weiss that aren't recorded as often is this gem. BTW, I consider this Tombeau to be among the very finest pieces of Baroque music on any instrument, certainly on the lute. What a joy that it's not particularly difficult to play, thought it certainly takes some skill to extract the nuance it deserves!
Altophile, Ohio, USA (Delcamp classical guitar forum)
Tombeau Comte d' Logy
“
You did a terrific job with the arrangement. It sounds quite good on the guitar and isn't too difficult to learn. Thanks!
Wilson, Canada (Delcamp classical guitar forum)
On J.S. Bach; O Haupt Voll Blut und Wunden, BWV 0244
“
Oh, very nice! I like the F# tuning idea, makes things much easier (well, "easier" is a somewhat problematic term in this context, but you get the idea.
David Norton, Utah, USA (Delcamp classical guitar forum)
On J.S. Bach; O Haupt Voll Blut und Wunden, BWV 0244
“
Thank you for posting this. I joined the group only recently and was looking through all the scores in the hope of finding exactly this piece of music. It is something of a challenge but, as Bach no doubt told his students, Übung macht den Meister
Leslie, New York, USA (Delcamp classical guitar forum)
On J.S. Bach; O Haupt Voll Blut und Wunden, BWV 0244
“
Much appreciated: the transposition to C major is very helpful to a struggling intermediate. Printing the chorale line in red also makes the counterpoint more intelligible.
Fabbri, Cornwall UK (Delcamp classical guitar forum)
On J.S. Bach; Choral Wachet Auf, BWV 0140
“
I too appreciate your work -- very playable and open as you say. Measure 38 is the most interesting of this piece to me. So much fun trying different fingerings to bring out the music!
Ed Lindley, California, USA (Delcamp classical guitar forum)
On J.S. Bach; Choral Wachet Auf, BWV 0140
“
Thank you! This has been going through my head because I've been listening to cantata 140, and I was wondering whether a guitar transcription existed of "Zion hört die Wächter singen."
Marymezzo (Delcamp classical guitar forum)
On J.S. Bach; Choral Wachet Auf, BWV 0140
“
Another great transcription by Benbeuming
Gilles Tordjman, Paris, France (Delcamp classical guitar forum)
On J.S. Bach; Choral Wachet Auf, BWV 0140
“
...I'm impressed. It looks to be a fantastic alto guitar piece. I am in the key you indicated without the need to put a capo, and I always play with 3=f# with that guitar anyway. It's perfect. I can't wait to get good at it. It's a very cerebral piece. I can just melt playing it. Thanks. Update: Ben, I am so absorbed with your arrangement of this piece. As I mentioned, I am playing it on my alto guitar (so no need for a capo). I have gone through the A section with the piano score and marked where the basses are an octave lower, where you elected to drop out a note or change the register ... and this has made me appreciate the decisions you had to make when you made this transcription (such as when to eliminate a note or change register in order to make the piece flow smoothly). It's funny, at first I would think, "I wonder why Ben left that note out, it's certainly playable." But then I realized that even though it's playable it makes the piece sound choppy, because you can't sustain another note, either a bass or melody. So it made me realize the amount of thought you put into this. Lots of work on your part. Anyway, I love this project and this piece. I'm blown away how well it fits. I'm glad I tried it in E minor on 6-string first, because it makes me appreciate how much more naturally it fits in this key and tuning. Thanks again.
Glen 'Soltirefa' California USA, (Delcamp classical guitar forum)
