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David Belcher, guitar, Half Recital:

Johann Kaspar Mertz, Gebeth,Bardenklnge, Op. 13!uigi !egnani, "aprices nos# $$, %, 36 Caprices, Op. 20

Heitor &illa'!obos, Modinha, Serstas, no# ( )arr# Belcher*

!eo Brou+er,El Decamern egr!Johann ebastian Bach, -r.lude, /lle0ande, Gigue, Cell! S"ite n!. 6, B1& 232$

)arr# Belcher*

4he first half of the recital +ill be an eclectic blend of genres, 5u6taposing nineteenth'

centur7 character pieces +ith the /fro'"uban rh7th0s of !eo Brou+er8s "uba, and the

/fro'Brazilian rh7th0s of &illa'!obos +ith the contrapuntal cello 0usic of J# # Bach8s

si6th cello suite# 4he progra0 includes t+o of Belcher8s o+n transcriptions, Modinha,b7 &illa'!obos, originall7 +ritten for piano and voice, and three 0ove0ents fro0 the

9nacco0panied i6th "ello uite b7 Bach# Both transcriptions atte0pt to re0ain faithful

to the originals +hile bringing the guitar8s special voice and colors to bear on this

ti0eless 0usic#

4he progra0 begins +ith a short character piece, Gebeth )pra7er*, fro0 theBardenklnge )Bardic ounds, op# 2* b7 the /ustro'Hungarian co0poser Johann Kaspar

Mertz )2;3

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4o conclude are selections fro0 Johann ebastian Bach8s si6th cello suite, +hich is rather

peculiar a0ong the others# 1hile each of the first five +ere co0posed for +hat +e no+toda7 as the traditional )four'stringed* violoncello, the si6th and final suite +as co0posed

for a five'string instru0ent +ith a high e'string# cholars continue to debate the precise

identit7 of the instru0ent, but the range of this 07ster7 instru0ent 0aes the si6th suite arather suitable fit on the guitar>thus ? have transcribed and pla7 the suite in its original

e7 of D Ma5or# ? have selected three 0ove0ents, the 5o7ous -relude, the 0ore tranuil

/lle0ande, and the gallant Gigue#