Written around 1720, during Bach's Cöthen period, this extraordinary Lute Suite exists in another version, as the Cello Suite No. 5, in C minor. While it is not clear which version came first, experts agree that Bach was profoundly attached to the lute, invariably introducing religious symbolism into his compositions for that instrument. For example, as the eminent guitarist Paul Galbraith noted, the Sarabande quotes the et incarnatus est for the Credo of the Mass in B minor. In both versions, the melody line is derived from a chord, but, as Galbraith explains, the lute version is more idiomatic, as the chordal origin of the melody is more transparent in the lutenist's style brisé, whereby a chord seems literally broken into its tonal components. Incorporating the ornateness of the French lute tradition, as well as the simplicity and directness of the German style, this suite demonstrates Bach's ability to create a powerful personal idiom by effectively fusing different national styles. For example, the Prelude, which opens with a stately, deliberate, almost verbose introduction is followed by a brisk, laconic fugue. Seemingly different in spirit, the two sections nevertheless easily coalesce in the listener's mind, constituting a logical and aesthetically convincing entity. Similarly, the Gavotte I, which features plain and broken chords, combines an idiomatic directness and simplicity with rich, and emotionally powerful, chordal accompaniment. As a whole, this Suite is among those constantly thought-provoking works which offer seemingly inexhaustible aesthetic and spiritual satisfaction to the listener.

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