BACH TRANSCRIPTION FOR MARIMBA: CREATING AN AUTHENTIC PERFORMANCE EDITION OF JOHANN SEBASTIAN BACH S SONATA NO. 1 FOR VIOLIN SOLO, BWV 1001, AND

Transcription

1 BACH TRANSCRIPTION FOR MARIMBA: CREATING AN AUTHENTIC PERFORMANCE EDITION OF JOHANN SEBASTIAN BACH S SONATA NO. 1 FOR VIOLIN SOLO, BWV 1001, AND SONATA NO. 2: GRAVE, BWV 1003, USING GUITAR AND LUTE TRANSCRIPTIONS AS MODELS by Darren Bruce Bastian Copyright Darren Bruce Bastian 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009

2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Darren Bastian entitled Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: May 26, 2009 Norman Weinberg Date: May 26, 2009 Gary Cook Date: May 26, 2009 Jeffrey Haskell Date: May 26, 2009 Pamela Decker Final approval and acceptance of this document is contingent upon the candidate s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: May 26, 2009 Document Director: Norman Weinberg

3 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Darren Bruce Bastian

4 4 ACKNOWLEDGEMENTS I thank Dr. Norman Weinberg, Professor Gary Cook, Professor Jeffrey Haskell, Dr. Pamela Decker and Dr. Donald Traut, for your helpful mentoring and insight. I am grateful for your time, knowledge, experience, and encouragement. Your advice throughout the many drafts of this document has been most helpful. I am likewise grateful to the Graduate Committee, and to other professors instrumental in guiding my research. In particular, I thank Dr. John Brobeck for sharing your vast knowledge in early music, inspiring my own research, and helping me organize my ideas. To Professor Thomas Patterson, I acknowledge your help in finding excellent research materials in guitar studies. To guitarist Paul Galbraith, I thank you for taking the time to thoroughly answer my questions about your transcription process. Your insight and interpretation have truly inspired my musical development and enhanced my love for Bach s music. I thank Sugarmusic S.p.A., G. Henle Verlag, Keyboard Publications, and Mel Bay Publications for kindly allowing me to use some of the figures in this document. To my parents, I give thanks for your unwavering support throughout my education. To my three wonderful children, Hyrum, Samantha, and Hugh, thank you for the joy and motivation you bring me each day. To my sweet wife, Lisa, who is my greatest strength and joy in life, thank you for your constant love and encouragement.

5 5 TABLE OF CONTENTS LIST OF FIGURES... 7 ABSTRACT... 9 CHAPTER 1: INTRODUCTION Transcription of Bach s Music Similarities Between the Marimba and the Guitar CHAPTER 2: RELATED LITERATURE CHAPTER 3: METHODOLOGY Background Sources Recorded Sources Adapting for the Marimba Contemporary Editions CHAPTER 4: BAROQUE PERFORMANCE PRACTICE Basso Continuo Style Brisé and Arpeggiation Techniques Ornamentation CHAPTER 5: TRANSCRIPTION OF AUDIO RECORDINGS Sonata no. 1: Adagio, BWV Sonata no. 1: Siciliano, BWV Sonata no. 1: Presto, BWV CHAPTER 6: COMPARING CONTEMPORARY EDITIONS Sonata no. 1: Fugue, BWV 1001 and Fugue for Lute, BWV Sonata no. 2: Grave, BWV 1003 and Suite for Clavichord: Adagio, BWV CHAPTER 7: CONCLUSION... 54

6 6 TABLE OF CONTENTS - Continued APPENDIX A: SCORES APPENDIX B: PERMISSIONS DISCOGRAPHY EDITIONS REFERENCES... 74

7 7 LIST OF FIGURES Figure 1 Adagio, Sonata no. 1, m. 1. Violin original and guitar renditions Figure 2 Adagio, Sonata no. 1, m. 1. Stevens marimba edition. [Excerpted from Bach, Stevens: Sonata in A Minor for Marimba Alone, page Keyboard Publications. Used by Permission.] Figure 3 Adagio, Sonata no. 1, m. 1. Bastian marimba edition influenced by Galbraith and Barrueco Figure 4 a) Prelude, Cello Suite 3, mm ; b) Prelude, Cello Suite 2, mm ; c) Sarabande, Cello Suite 3, mm Melody, bass, and harmonic implications. [Excerpted from Yates: J.S. Bach: Six Unaccompanied Cello Suites, page Mel Bay Publications Inc. All Rights Reserved. Used by Permission.] Figure 5 Fugue, Sonata no. 1, mm and Fugue for Lute, BWV 1000 mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] Figure 6 Rhythmic placement of bass and upper pitches in relation to the pulse Figure 7 Bach s Explication from Clavierbüchlein vor Wilhelm Friedman Bach Figure 8 Adagio, Sonata no. 1, from mm. 1, 5, 8, 10. Galbraith s arpeggiation examples Figure 9 Adagio, Sonata no. 1, from mm. 4, 15, 19. Galbraith s contrapuntal accompaniment examples Figure 10 Adagio, Sonata no. 1, from mm. 1, 5, 9, 12. Galbraith, Barrueco, and Junghänel s ornamentation examples Figure 11 Siciliano, Sonata no. 1, m.11. Bass variations. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] Figure 12 Siciliano, Sonata no. 1, m.4. Variations in ornamentation Figure 13 Siciliano, Sonata no. 1, m.4. Calderón and Segovia harmonic variations. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] Figure 14 Siciliano, Sonata no. 1, from mm. 4, 8-9, 13. Alterations in Bastian edition... 43

8 8 LIST OF FIGURES - Continued Figure 15 Presto, Sonata no. 1, mm Accelerating bass pattern in Paul Galbraith s performance Figure 16 Presto, Sonata no. 1, mm Bastian edition influenced by Galbraith and Calderón Figure 17 Presto, Sonata no. 1, mm Original notation, Yamashita, Escobar, Calderón, Barrueco, and Bastian versions. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] Figure 18 Fugue, Sonata no. 1, mm. 1-8 compared to Fugue for Lute, BWV 1000, mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] Figure 19 Fugue, Sonata no. 1, mm compared to Fugue for Lute, BWV 1000, mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] Figure 20 Fugue for Lute, BWV 1000, mm Bream and Junghänel performance. 49 Figure 21 Fugue for Lute, BWV 1000, mm Bastian marimba edition influenced by above renditions Figure 22 Grave, Sonata no. 2, mm. 1-2 and Adagio, Suite BWV 964, mm [*Reproduced from Bach, Dadelsen: Suiten, Sonaten, Capriccios, Variationen, page G. Henle Verlag München. Used by Permission.] Figure 23 Grave, Sonata no. 2, mm Guitar renditions Figure 24 Grave, Sonata no. 2, mm Bastian edition Figure 25 Grave, Sonata no. 2, m. 8. Original violin and harpsichord notation; guitar renditions. [*Reproduced from Bach, Dadelsen: Suiten, Sonaten, Capriccios, Variationen, page G. Henle Verlag München. Used by Permission.]53

9 9 ABSTRACT Musicians have transcribed and adapted Johann Sebastian Bach s Sonatas and Partitas for Violin Solo, BWV , since Bach penned the works around the year Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material. It is in this spirit that the author introduces marimba performance editions of Bach s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach s unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach s unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars approach is then assimilated into an authentic marimba performance edition of these works.

10 10 CHAPTER 1: INTRODUCTION Transcriptions of Bach s Sonatas and Partitas for Violin Solo, BWV , have long been a part of marimba literature. Renowned marimbists, such as Vida Chenowith, Leigh Howard Stevens, Beverly Johnston, and Fillippo Lattanzi have performed and recorded brilliant marimba renditions. Even so, although the marimba differs greatly from the violin, marimbists often perform strict note-for-note transcriptions of these works, with the exception of adding rolls for sustain or transposing the key due to range considerations. The violin, as a bowed string instrument, can sustain notes over a long period of time, while the marimba s percussiveness renders it virtually incapable of creating a true sustain with mallets. On the other hand, the marimba is more polyphonic than the violin, and capable of sounding up to four notes simultaneously. 1 Such differences suggest that marimbists should treat these works with more consideration as to the nature of their instrument. Transcription of Bach s Music It is well known that Bach transcribed and reused his own music. He arranged the entire Partita no. 3, BWV 1006, into a Suite for Lute, BWV 1006a. The Fugue from Sonata no. 1, BWV 1001, also appears as Fugue for Lute, BWV 1000, transcribed into tablature by one of Bach s associates, Johann Christian Weyrauch. Bach also used much of his chamber and solo music in his Leipzig cantatas. 1 This study assumes marimbists use four mallets.

11 11 In addition to Bach s own transcriptions, quality renditions by guitarists and lutanists also serve as excellent models for adapting Bach s violin sonatas to a secondary instrument. Guitar virtuosi such as Manuel Barrueco, Paul Galbraith, Andrés Segovia, Kazuhito Yamashita, Julian Bream, lutanist Konrad Junghänel, and many more have adapted and recorded part or all of Bach s violin sonatas, each with a personalized interpretation. Interestingly, these plucked-string instrumentalists seem to celebrate their instruments unique abilities to appropriately enhance the music. In addition, scholars such as Paolo Cherici, Tilmann Hoppstock, Sol Babitz, Frank Koonce, and Stanley Yates have published extensive research concerning the transcription of Bach s music for the guitar. 2 They focus their work on original source material, style, ornamentation, comparison of contemporary editions, and adaptation for the guitar. These materials can likewise guide the marimbist looking to perform and adapt Bach s solo string music. Guitarists often adapt Bach s music to better fit their instrument s characteristics. Due to the guitar s polyphonic nature, guitarists often add bass accompaniment, counterpoint, additional harmonic pitches for a more full sound, or arpeggiations to lengthen the sound. Guitarists general approach to adding any amount of selfaccompaniment to these works stems from the tradition of basso continuo, a defining Baroque element. 2 J.S. Bach, Opere Complete per Liuto: Versione Originale, ed. Paolo Cherici Milano: Edizioni Suvini Zerboni, 1980); J.S. Bach, Das Lautenwerk und Verwandte Kompositionen Im Urtext, ed. Tilmann Hoppstock Darnstadt: PRIM Musikverlag, 1994); J.S. Bach Sonaten und Partiten, violin, BWV , ed. Sol Babitz Los Angeles: Early Music Laboratory, 1972); J.S. Bach, The Solo Lute Works, Second ed., ed. Frank Koonce San Diego, CA: Neil A. Kjos Music Company, 1989, 2002); and Stanley Yates, J.S. Bach: Six Unaccompanied Cello Suites Arranged for Guitar, Pacific, MO: Mel Bay Publications, 1998).

12 12 Stanley Yates argues that such adaptations not only enhance the quality of the music for that specific instrument, but that a note-for-note rendition on an instrument other than the one intended would have a mediocre result. He asserts that pitch-faithful arrangement succeeds only in superimposing the limitations or weaknesses of one instrument to another without substituting for this deficiency with expressive means idiomatic to the instrument receiving the injustice. The result is an arrangement expressively inferior to the original. 3 This same argument applies directly to the marimba in that a marimbist, like a guitarist, should use the instrument s inherent strengths to expressively adapt Bach s violin sonatas, while retaining authentic Baroque style. Similarities Between the Marimba and the Guitar The marimba and the guitar may appear to be quite different, due to the difference in size and playing technique. However, these two instruments have important similarities in polyphonic ability, voicing ability, range, and sound quality. Marimbists have four notes available for blocked chords and can quickly arpeggiate more notes while retaining a chordal sound. Guitarists can easily play six notes simultaneously or more with added strings). The layout of the guitar also lends itself to playing more open chords with larger intervals, which also fit well on the marimba. The instruments lower ranges 3 Yates, J.S. Bach: Six Suites, 154.

13 13 likewise compare nicely: a five-octave marimba reaches a C2, and the guitar reaches the E2 above that. 4 The lowest string on the guitar may also be dropped to a D2. The guitar is a transposing instrument, sounding one octave below the written pitch, while the marimba is a non-transposing instrument. Consequently, if a five-octave marimba is used, a marimbist will likely transpose guitar music down one octave, which will sound the same pitches as the guitar. This is also a common method that marimbists use when performing Bach s violin sonatas, likely due to the more resonant and less percussive sound of the lower register. Perhaps the most important similarity between the marimba and the guitar is their sound quality, particularly the amount of sustain the instruments produce. The percussive sound quality of the marimba mirrors the plucked-string sound of the guitar, in that it produces an initial attack followed by an immediate decay of sound. The major point of departure for these otherwise similar instruments comes from the methods of producing a sustained sound. Marimbists usually roll notes or chords in order to produce a sustained sound, or rather, an imitation of sustain. A roll on the marimba produces a pulsating effect that comes from repeated attacks, quite unlike the sustained sound of a violin, or any wind instrument, for that matter. Many marimbists agree that rolls can detract from the character of the music, and should be used with great care. Nancy Zeltsman, an internationally renowned marimbist, writes, Sometimes rolls can work if you really try to minimize the roll texture. Other times, there s no way to ignore that they add a strange 4 The Acoustical Society of America nomenclature will be used: C1, C2, C3, C4 middle), etc.

14 14 texture that distorts the composer s intentions, and you d be better off just letting the pitches ring. 5 Likewise, Brian Cole argues that the roll produces a tremolo sound foreign to the Baroque style, and suggests using ornamentation, such as trills, for a more authentic solution. 6 Guitarists, on the other hand, do not use quick repetitions i.e. roll) on the same pitch or chord, but instead use ornamentation, arpeggiation, self-accompaniment, and even counterpoint to sustain the sound. Paul Galbraith s guitar rendition of the sonatas and partitas, for example, includes extensive contrapuntal accompaniment between chords in order to lengthen the sound. Manuel Barrueco, in his performance of the sonatas, uses more trills and ornamentation to lengthen the sound and add expression. Both solutions are authentically Baroque in style. 7 Occasionally, guitarists will let the sound fade completely at the end of a phrase. These guitar approaches translate well to the marimba. In this document, I will discuss the creation of my marimba performance edition of Johann Sebastian Bach s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, in an attempt to demonstrate that guitar and lute transcriptions provide more appropriate models for marimbists looking to adapt and perform these works than do the violin originals. 5 Nancy Zeltzman, Four-Mallet Marimba Playing Milwaukee: Hal Leonard Corporation, 2003), Brian Cole, Baroque Performance Practice and the Marimba Transcription, Percussive Notes 29, no. 5 June 1991), 8. 7 See Discography

15 15 CHAPTER 2: RELATED LITERATURE This project contains the first marimba edition of Johann Sebastian Bach s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, that is based on the study of guitarists and lutanists performances and adaptations. Such a project will prove useful for both marimbists and guitarists interested in the transcription process. The primary sources include audio recordings, published guitar and marimba transcriptions, and scholarly publications that address transcription and adaptation of Bach s unaccompanied string music for the guitar. Additional sources include writings on transcribing Bach in general, discussions of authentic Baroque style and performance practice, and writings on the adaptation of guitar music for the marimba. A few sources address similar topics. Brian Cole s Percussive Notes article also states that lute and harpsichord performance of Bach s music translates well for marimbists. His discussion includes the sound similarities between these plucked instruments and the marimba, however Cole does not provide a thorough study of the idea, but rather gives a few examples of how to alter the music to fit the marimba and concludes with an invitation to examine Baroque practice before attempting such alterations. My study could be considered an answer to Cole s invitation. 8 Kevin Christie Super s dissertation, Guitar Transcriptions for Marimba: Piazzolla, Tango suite; Bogdanović, Selected Works With an Overview of Marimba Repertoire and a Bibliography, discusses transcription and adaptation of guitar literature for the marimba, including suggestions of what works well and what does not. Super also 8 Cole, Baroque Performance Practice and the Marimba Transcription, 7-9.

16 16 explains in great detail many similarities and differences between the guitar and marimba. One difference with his study and my study is the literature itself. The general principles compare closely, but the present study focuses on violin works, using guitar and lute performance practice as a mediator in creating an appropriate marimba adaptation. 9 Christopher Norton, in his DMA Dissertation, Transcribing for Solo Marimba, addresses the topic of transcription with a particular focus on solving range and sustain problems. He also discusses criteria that lead to suitable transcriptions. Although Norton briefly discusses the transcription of some of Bach s music, he does not address the various methods of sustain, with the exception of the trill, used by lute or harpsichord players from the time period. Instead, his discussion on sustaining sound explores various types of rolling techniques on the marimba as well as rhythmic repetitions of a single pitch, neither of which is an authentic technique for sustain in the Baroque style. Nevertheless, Norton s contribution to the process of transcription for marimba is significant in that he gives practical and effective methods of adapting classical works for the marimba. 10 Leigh Howard Stevens published Bach s Sonata no. 1 for Marimba Alone transposed to A Minor) through Keyboard Publications. This transcription uses a variety of roll techniques throughout the work, clearly intended to imitate the sound of the violin. 9 Kevin Christie Super, Guitar Transcriptions for Marimba: Piazzolla, Tango Suite; Bogdanović, Selected Works--With an Overview of Marimba Repertoire and a Bibliography DMA diss., University of Oregon, 1994). 10 Christopher Norton, Transcribing for Solo Marimba DMA diss., Louisiana State University, 1988).

17 17 For the reasons listed above, my study and adaptation differ from the Stevens transcription significantly. 11 Numerous publications address transcribing Bach s string music for the guitar and will be addressed later. As of yet, no author has applied the various conclusions from these guitar publications to marimba practice. My study is intended to do just that, and will enable marimbists to benefit from the knowledge and experience of these guitarists, lutanists, and scholars. 11 Johann Sebastian Bach, Sonata in A Minor for Marimba Alone original: Sonata in G Minor for Violin Alone), Stevens, ed. Asbury Park, NJ: Keyboard Publications, 1989).

18 18 CHAPTER 3: METHODOLOGY The layout of this study is divided into three parts. The first is an overview of Baroque performance practice, with particular attention to plucked string instruments. The next part is a study of guitar and lute recordings, including a discussion of how the transcribed material is adapted into my marimba edition. The third part is a comparison of contemporary transcriptions of the Fugue and Grave, also including a discussion on how this material is incorporated into my marimba edition. The following is an example of this methodology. Background Sources General sources, such as Robert Donington s Baroque Music: Style and Performance and Frederick Neumann s Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach were used for valuable insight on authentic performance. 12 Both of these authors emphasize the unrestricted nature of Baroque music, and its performance variability. Donington s text gives practical information on preparing and performing Baroque music in an authentic style: editing your own text, choosing the right tempo, understanding forms, rhythmic alteration, ornamentation, and accompaniment. Neumann explores the various ornaments in Baroque music 12 Robert Donington, Baroque Music: Style and Performance London: Faber Music Ltd., 1982) and Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach Princeton: Princeton University Press, 1978).

19 19 performance. He avoids describing a set of rules for ornamentation, but instead investigates the free interpretation of Baroque music as it was performed originally. 13 In addition, a variety of guitar scholars have written about transcribing Bach s unaccompanied string works for their instrument. Such works include Stanley Yates J.S. Bach: Six Unaccompanied Cello Suites Arranged for Guitar, Frank Koonce s edition of The Solo Lute Works by J.S. Bach, and Tilmann Hoppstock s Johann Sebastian Bach: Das Lautenwerk und Verwandte Kompositionen Im Urtext. 14 Not only do these works cover the specific genre of the present project, but they also include discussions on Baroque style, including ornamentation and accompaniment. Recorded Sources Many acclaimed guitar and lute artists have made superb adaptations and recordings of Bach s sonatas and partitas. Paul Galbraith, Manuel Barrueco, Nicholas Goluses, and Kazuhito Yamashita are but some of the many guitarists that have recorded these works. Additionally, Manuel Barrueco and Javier Calderón both published their transcriptions. 15 Most of the versions, however, exist only in recorded format, and therefore require listening and transcribing for analysis. 13 Neumann, Ornamentation, Yates, J.S. Bach: Six Suites, ; Bach, Koonce Solo Lute Works; and Bach, Hoppstock Das Lautenwerk. 15 Johann Sebastian Bach, 3 Sonatas, ed. Manuel Barrueco Mainz: Schott Musik International GmbH & Co., 1998) and Johann Sebastian Bach, Transcriptions for Classic Guitar, ed. Javier Calderón Pacific, MO: Mel Bay Publications, 1999).

20 20 One need not look far to find adaptations in the performances. Indeed, guitarists perform the very first chord of the G Minor Sonata: Adagio in a variety of ways. This chord, an open G Minor chord, written G3, D4, B b 4, G5 sounding one octave lower on the guitar), is played in the following ways: as a blocked chord, using a slow arpeggio, using a filled-out harmony, decorated with a flourish of extra notes, or a mixture of all these practices. In the example below, the original notation is provided along with various renditions of the first bar of the Adagio Figure 1). The tempi of the performances are fairly consistent, yet each performer chooses a different manner of realizing the first measure; particularly the long chord on beat 1. Figure 1 Adagio, Sonata no. 1, m. 1. Violin original and guitar renditions. Guitarist Paul Galbraith sounds the initial chord in its original form, and follows it with an improvisatory figure adding a few pitches to the original chordal sonority. In this

21 21 figure, he repeats G4, and D5 in the first beat as well as the G3 in the third beat. Galbraith attributes this stylistic approach to the construction of the lute, with all the strings doubled except for the top string. 16 Unlike Galbraith, Manuel Barrueco does not sound the original chord as notated by Bach, but instead arpeggiates through a filled-out version of the chord three times. Looking at Barrueco s published score, one will not see any written indication for such an arpeggio. 17 Furthermore, the trill that Barrueco performs on beat 3 is not notated in his published edition. These differences illustrate the improvisatory character of Barrueco s performance. Another guitarist, Kazuhito Yamashita, performs this opening chord as a slow, drawn-out arpeggio of the original four pitches, creating a sense of length. Yamashita also arpeggiates the chord on beat 3. Of the three performers in this example, Yamashita does the least amount alteration in the first bar, resulting in a different character than the other two performers. This is but one example of the various realizations of Bach s violin sonatas on the guitar. Yamashita s performance is pensive and deliberate; Barrueco s is bold and virtuosic; and Galbraith s is improvisatory and elegant. Marimbists can likewise develop similar expressive variety. 16 Paul Galbraith, message to author, October 29, Bach, Barrueco 3 Sonatas, 7.

22 22 Adapting for the Marimba My goal with this project is to produce an authentic marimba performance edition of Bach s Sonata no. 1, BWV 1001, and Sonata no. 2: Grave, BWV 1003, taking elements from some of the great guitar and lute performances. The resulting edition displays the unique sound quality of the marimba in an authentic Baroque style. To illustrate the uniqueness of this idea, we return to the first measure of the G Minor Sonata: Adagio, BWV Most, if not all, of the marimbists who have recorded this work start with a roll on beat 1. Some will imitate a common violin approach by striking the bottom two notes and proceeding to sustain the top two notes with a roll. Others, as shown in Leigh Howard Stevens transcription in A Minor), roll all the notes from the outset Figure 2). 1 Figure 2 Adagio, Sonata no. 1, m. 1. Stevens marimba edition. [Excerpted from Bach, Stevens: Sonata in A Minor for Marimba Alone, page Keyboard Publications. Used by Permission.] The use of rolls to sustain continues throughout the movement, and can be performed quite successfully. However, one may use other and perhaps more authentic means to expressively create a sustained sound. For example, following the

23 23 examples of both Galbraith and Barrueco Figure 1), I have chosen to realize this passage in the following way: using an improvisatory figure on beat 1, followed by an arpeggio and trill on beat 3 Figure 3). Figure 3 Adagio, Sonata no. 1, m. 1. Bastian marimba edition influenced by Galbraith and Barrueco. This approach avoids the numerous pulsations that come from rolling the notes and creates sustain by means of arpeggiation and ornamentation. More examples of this approach will be given in Chapter 5: Transcription of Audio Recordings and Chapter 6: Comparing Contemporary Editions. Contemporary Editions In addition to the transcription methods shown above, the Fugue and the Grave were also compared to contemporary editions: Weyrauch s tablature version of the Fugue BWV 1000) and Bach s transcription of the Grave for harpsichord BWV 964). Specifically, I analyzed a side-by-side comparison of both lute and violin versions of the Fugue. I then compared actual guitar and lute performances with both the violin and lute versions, and finally created a marimba edition based upon all of the above. I also examined Bach s Sonata no. 2: Grave, BWV 1003, and the harpsichord version, Suite for Clavichord: Adagio, BWV 964. This contemporary model of

24 24 transcription for harpsichord reveals the relationship of figured bass to the violin edition. My approach mimics the approach that many guitarists have taken, which is often somewhere in between the violin and harpsichord versions.

25 25 CHAPTER 4: BAROQUE PERFORMANCE PRACTICE Many scholars have written about authentic Baroque performance practice, and an in depth study of the topic exceeds the limitations of this document. For example, a detailed study of tempo and phrasing, though important to developing a good performance, will not take place in this document. However, certain historical aspects will be addressed regarding the adaptation of Bach s music, namely, the role of basso continuo, the use of style brisé and arpeggiation techniques, and ornamentation. Basso Continuo The title of Bach s sonatas and partitas reads Sei Solo: a Violino senza Basso accompagnato, or Six Solo: for Violin without Bass accompaniment. Such specification was necessary because most violin solos of the time were written with accompaniment. Still, as Stanley Yates suggests, perhaps it would be more appropriate to label these pieces self-accompanied rather than unaccompanied because of their clear relationship to the practice of basso continuo, or figured bass. 18 Basso continuo is one of the defining aspects of Baroque music. While Renaissance polyphony consisted primarily of multiple independent voices, Baroque music allowed for both polyphony and the rise in monody, which featured one lead voice, accompanied by a bass voice and improvised harmony. The bass and harmonic accompaniment together became known as basso continuo. Composers usually only took the trouble to write the melody and bass parts, and indicated the harmonic content with 18 Yates, J.S. Bach: Six Suites, 153.

26 26 numbers and accidentals beneath the staff. These markings specified intervals above the bass note, which could be realized during performance. The realization could be simple or complex, depending on the situation and the ability of the performers. The bass part was played by one or more instruments such as the harpsichord, organ, lute, bass viola da gamba, violoncello, or bassoon. The polyphonic instruments such as the harpsichord, organ, or lute, would also realize the harmony. If the ensemble consisted of multiple instruments, the continuo may not have been necessary at all, since the harmonies would occur in all the instruments. Small ensembles may have had only one polyphonic instrument playing both the basso and continuo parts. Considering the predominance of basso continuo in Baroque music, Bach s selfaccompanied string works were all the more unusual for the time period, especially for the violin and violoncello, which were not typically continuo instruments. The music, however, indicates that a figured-bass approach was used in its creation, as it contains bass, harmony, and melodies. The three parts may be interpreted in various ways depending on the performer, but they are nonetheless there. Yates gives an example of how Bach implies melody, bass, and harmony in his cello suites by means of arpeggiation, melodic leaps, and multi-stopped chords Figure 4).

27 27 Figure 4 a) Prelude, Cello Suite 3, mm ; b) Prelude, Cello Suite 2, mm ; c) Sarabande, Cello Suite 3, mm Melody, bass, and harmonic implications. [Excerpted from Yates: J.S. Bach: Six Unaccompanied Cello Suites, page Mel Bay Publications Inc. All Rights Reserved. Used by Permission.] In transferring this music to the guitar, Yates concludes that, An appropriate approach to arranging this music, therefore, comprises the reconstruction of the polyphony in a contrapuntally and harmonically-consistent form, the reconstruction of the texture of the solo sonata i.e., an expressive solo line supported by a slower-moving and rhythmic continuo line), and the realization of these goals in an expressive form idiomatic to the receiving instrument [guitar]. 19 It is likely that many guitarists have a similar mentality when they adapt the unaccompanied string music of Bach. For this reason, some of the most common adaptations include the addition of bass notes and the 19 Yates, J.S. Bach: Six Suites,

28 28 use of additional harmonic pitches. Performers do this in varying degrees and clearly feel that such additions take nothing away from the music, but rather make it more appropriate for guitar. Bach, himself, must have had similar feelings, as his own adaptations show comparable changes to the music. The autographed Lute Suite, BWV 1006a, mentioned earlier, compares closely with Partita no. 3 for Violin Solo, BWV The lute version contains added bass notes throughout and some added harmony. He takes an even more elaborate approach with his Clavier Sonata in D-Minor, BWV 964, which is a transcription of Sonata no. 2 for Violin Solo, BWV Because of the nature of the harpsichord, Bach is able to add more bass and harmonic accompaniment as well as contrapuntal lines. This comparison will be addressed in Chapter 6: Comparing Contemporary Editions. Because of the comparable range and polyphonic abilities of the marimba and the guitar, my edition takes a similar approach to basso continuo accompaniment as many guitarists approach. A description of actual performances and adaptations will follow in Chapter 5: Transcription of Audio Recordings and Chapter 6: Comparing Contemporary Editions. Style Brisé and Arpeggiation Techniques As discussed earlier, guitarists and lutanists cannot sustain plucked notes indefinitely. One solution to this problem developed in 17 th -century France with the advent of style brisé, or broken style, which was a natural development in lute technique

29 29 of the time. As the name indicates, style brisé means to break up chords into an unpredictable arpeggiated texture, creating a more subtle progression of chords and molding the music by expressive means. 20 Breaking up the harmonies creates horizontal lines, giving the harmony a melodic feel, or a sense of forward motion. Interestingly, and not unlike the approach of my project, French harpsichordists followed the lute s lead with this technique. François Couperin, an early eighteenthcentury harpsichordist/composer, actually called it style luthé, or lute style, referring to its origin. One of the first important harpsichordists, Jacques Champion, Sieur de Chambonnières, collected his works into suites that exemplified style brisé. Other notable harpsichordists such as Froberger, Louis Couperin, and D Anglebert, were also known for their use of this style. 21 Much of the Bach violin sonatas and partitas includes style brisé writing, as he used this expressive style to imply both melody and harmony. Yates first two examples of implied accompaniment shown above Figure 4) illustrate this style of breaking up harmonies into arpeggiated patterns or disjunct melodies. This approach enables the violin, which is primarily a monophonic instrument, to play polyphonic music. With this in mind, one can justify alterations to certain arpeggiated sections in the lute version of the Fugue. In measures mm in the violin version), for example, we see how the basic harmonies remain in tact, yet the order of the notes changes Figure 5). Such 20 David Ledbetter, Style brisé, In Grove Music Online. Oxford Music Online, accessed March 7, 2009). 21 John Walter Hill, Baroque Music New York: W. W. Norton & Company, 2005),

30 30 alterations only occur rarely throughout the Fugue, and little or nothing is lost in the process. It is merely a variation on the broken style. Violin Original 66 67!! * Cherici Edition 68! 69 & & & & & Figure 5 Fugue, Sonata no. 1, mm and Fugue for Lute, BWV 1000 mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] In a similar vein, guitarists and lutanists often use arpeggiation techniques to realize harmonies, especially in the slower, more improvisatory movements. The first measure of the G Minor Sonata: Adagio, discussed earlier, is a prime example of the various arpeggiation techniques guitarists use in order to draw out the sound over a longer period of time see Figure 1). Guitarists can arpeggiate slowly, quickly, ascending, descending, or using a mixture of approaches. For variety, it is also common for performers to alternate between arpeggiated and blocked chords. Guitarists often take further liberty with how they attack the bass pitch in relation to the beat or pulse of the music. This is not something that is typically notated, but rather assumed as part of performance. Rhythmically, the bass may be played on the beat and in alignment with the other pitches, slightly before the beat with the upper voices following on the beat, or directly on the beat with the upper voices following slightly after the beat

31 31 Figure 6). Other possibilities also exist. Each approach draws out the sound in a different manner, and when interchanged throughout the work, they provide expressive variety. Figure 6 Rhythmic placement of bass and upper pitches in relation to the pulse. We begin to see the degree of variation that is possible with style brisé and arpeggiation techniques, especially with percussive instruments such as the guitar and the marimba. These options are not alone, however, as they are coupled with the endless possibilities in ornamentation. Ornamentation As Robert Donington affirms, Baroque ornamentation is more than a decoration. It is a necessity. 22 Yates describes ornamentation as a personal and creative aspect of Baroque performance, and an indispensable element of the style. 23 Like arpeggiation, much of the ornamentation expected in Baroque music was not notated, but assumed as part of performance. French harpsichordist Chambonnières, mentioned earlier, not only exemplified style brisé in his suites, but also used many small ornaments marked with abstract 22 Donington, Baroque Music, Yates, J.S. Bach: Six Suites, 164.

32 32 symbols. He was one of the first to include a table of ornaments that illustrated the meaning of his symbols. 24 Bach also created a table of ornaments for his son, Wilhelm Friedman Bach in his Clavierbüchlein vor Wilhelm Friedman Bach Figure 7).! trillo mordant & trillo und mordant!! doppelt-cadence und mordant cadence! doppelt-cadence ) accent und accent und idem accent steigend accent fallend mordant trillo idem & idem Figure 7 Bach s Explication from Clavierbüchlein vor Wilhelm Friedman Bach. This guide is helpful, but the wise performer will also consider Frederick Neumann s caution. He describes two common fallacies regarding Baroque ornamentation. The first is what he calls unjustified generalizations that ignore the variable individuals, time periods, and regions. The other fallacy is the too literal interpretation of a theoretical document and in particular of ornament tables. In other words, tables such as this should only be used as rough guides to a free and personal interpretation of the ornaments. Hard and fast rules do not fit the style. 25 For the transcriptions used in this project, some of the ornaments are indicated by symbols while others are written out in standard notation. As a general approach, I use standard notation when the ornament is performed with a more rhythmic feel, and I use 24 Hill, Baroque Music, Neumann, Ornamentation, 9.

33 33 symbols to indicate the more rhythmically-free ornaments. The editions included in this document, with their notated ornaments, reflect an individual interpretation. Other performers should likewise take a personal approach in ornamentation For more discussion on the use of ornaments, see Donnington, Koonce, Neumann, and Yates.

34 34 CHAPTER 5: TRANSCRIPTION OF AUDIO RECORDINGS The most valuable study of performance certainly comes from listening to great performances, and such was the main focus of this project. I wish to emphasize, however, that the recordings studied herein are in no way exhaustive. For the purposes of this study, I limited my transcriptions to the following performances and editions: Sonata no. 1 for Violin Solo, BWV 1001 Adagio Original violin version Bach Institut, NBA VI/I, 1958) Manuel Barrueco published edition Bach, Barrueco 1998) Manuel Barrueco performance Barrueco 1997) Paul Galbraith performance Galbraith 1998) Konrad Junghänel lute performance Junghänel 1979) Kazuhito Yamashita performance Yamashita 2005) Fugue Lute version, BWV 1000) Original violin version Bach Institut, NBA VI/I, 1958) Julian Bream performance Bream 1990) Paolo Cherici edition based on Johann Christian Weyrauch s tablature Bach, Cherici 1980) Paul Galbraith performance Galbraith 1998) Yasunori Imamura lute performance Imamura 1990)

35 35 Klause Jäckle performance Jäckle 2008) Konrad Junghänel lute performance Junghänel 1979) Frank Koonce edition based on Weyrauch s tablature Bach, Koonce 2002) Siciliano Original violin version Bach Institut, NBA VI/I, 1958) Manuel Barrueco published edition Bach, Barrueco 1998) Manuel Barrueco performance Barrueco 1997) Javier Calderón edition Bach, Calderón 1999) José Antonio Escobar performance Escobar 2001) Paul Galbraith performance Galbraith 1998) Nicholas Goluses performance Goluses 1995) Andrés Segovia performance Segovia 2003) Kazuhito Yamashita performance Yamashita 2005) Presto Original violin version Bach Institut, NBA VI/I, 1958) Manuel Barrueco published edition Bach, Barrueco 1998) Manuel Barrueco performance Barrueco 1997) Javier Calderón edition Bach, Calderón 1999) José Antonio Escobar performance Escobar 2001)

36 36 Paul Galbraith performance Galbraith 1998) Nicholas Goluses performance Goluses 1995) Kazuhito Yamashita performance Yamashita 2005) Sonata no. 2 for Violin Solo, BWV 1003 Grave Original violin version Bach Institut, NBA VI/I, 1958) Bach s harpsichord transcription: Sonata Nach der Violinsonate, BWV 964 Bach, Dadelsen 1975) Manuel Barrueco performance Barrueco 1997) Manuel Barrueco published edition Bach, Barrueco 1998) Paul Galbraith performance Galbraith 1998) Nicholas Goluses performance Goluses 1995) Kazuhito Yamashita performance Yamashita 2005) The Adagio, Siciliano, and Presto will be addressed first, and the discussion of these three movements pertains to transcriptions of recorded performances. The Fugue and the Grave will follow in Chapter 6, with a discussion of the contemporary editions for lute and harpsichord, respectively.

37 37 Sonata no. 1: Adagio, BWV 1001 Much of the credit for my edition of the Adagio must go to Paul Galbraith, as his rendition fits almost perfectly on the marimba and was therefore the primary source for this marimba edition. Not only does Galbraith use a remarkable palette of arpeggiation techniques, but he also includes many passages of accompanimental counterpoint and bass notes that help fill the space between longer notes. His performance is slower than most, which gives the movement a relaxed and improvisatory feel, yet the tempo and rhythms are quite consistent. Galbraith plays the sonata in A Minor, like many other guitarists, likely as a result of the key fitting better on the guitar. Excerpts of his transcription are shown in G Minor for comparison. Galbraith s arpeggiation techniques often include repeated attacks of one or more middle pitches, which is an imitation of the lute. Lute courses have double strings except for the top course, which is a single string. Curiously, the repetition of inner voices of a chord creates a sense of length, whereas repetition of the top note of the chord gives more of an echo effect, which is less desirable. Galbraith is able to imitate the lute with his eight-string Brahms Guitar, which contains one string lower and one higher than the normal six-string guitar. His adaptations, therefore, include consideration of the lute s construction and playing technique. Some examples of Galbraith s arpeggiations, including the double attacks on middle pitches, are shown below Figure 8). Without arpeggios, these passages leave undesirable space between the notes, but with them, the full sonority of the chord lasts significantly longer.

38 38 Figure 8 Adagio, Sonata no. 1, from mm. 1, 5, 8, 10. Galbraith s arpeggiation examples. Galbraith also uses contrapuntal bass and middle-voice lines to create forward motion Figure 9). Often, these lines either begin from or lead to original notes, providing a horizontal connection between harmonies. Such an expressive approach mimics improvisatory basso continuo and style brisé, and utilizes the polyphonic abilities of the guitar. Figure 9 Adagio, Sonata no. 1, from mm. 4, 15, 19. Galbraith s contrapuntal accompaniment examples. In addition to the arpeggiation and contrapuntal accompaniment shown above, Galbraith and others, notably Manuel Barrueco and Konrad Junghänel, ornament the lines in unique ways, adding length and expression. Notation does not do full justice to the style of these ornaments, hence aural analysis is the superior teacher in this regard. The following figure contains some examples of ornaments used in the Adagio Figure 10).

39 39 Violin Original Galbraith Barrueco Performance Junghänel lute) 1! 5 & 9! ) * + ) &! & 1 12 &! &,,! &! ) * & + ) Figure 10 Adagio, Sonata no. 1, from mm. 1, 5, 9, 12. Galbraith, Barrueco, and Junghänel s ornamentation examples. The first example shows how Barrueco and Junghänel use trills on different notes of measure 1 beat 3, the former extending the first sonority and the latter using the trill to lead into the next beat. In measure 5, Junghänel uses what Bach called accent und mordant refer to Figure 7) to emphasize the half-steps. Paul Galbraith performs a rhythmic trill at the arrival of D Minor in measure 9. Finally, the last excerpt, from measure 12, shows how both Barrueco and Junghänel trill on the same note, Barrueco also including bass accompaniment. Techniques such as these were used in the creation of my marimba edition. Sonata no. 1: Siciliano, BWV 1001 Of the five movements studied in this project, the Siciliano consistently had the least amount of alterations in the recorded performances and published editions. Indeed, the strong rhythmic motives that unify this movement and its the clear polyphonic writing

40 40 need no alteration to be effective. Yet careful listening reveals subtle alterations by nearly all of the performers. The most common alteration is the addition of bass pitches or octave shifts of the existing bass line. Which bass notes were altered appears to be subjective, as some prefer a lower bass note to the consistency of the line and vice versa. Other alterations include ornamentation and arpeggiation. The figure below illustrates performers variations in bass accompaniment in measure 11 Figure 11). Each of these performers adds a bass note on the first beat, followed by different interpretations of the octave Fs. Interestingly, this is one of the few alterations that Barrueco makes in his edition, which is almost entirely like the original, while Galbraith plays nearly the entire movement with the bass dropped an octave.

41 41 Violin Original Barrueco Performance Goluses *Calderón Segovia Galbraith 11!!! & & & ) & & & ) ) * 11! & & & ) & & & ) ) * 11! & & & ) & & & ) ) * 11! & & & ) & & & ) & & + ) * 11 & & & & ) & & & & ) ) * 11! ) & & & & & & ) + ) + 11,! & * & Figure 11 Siciliano, Sonata no. 1, m.11. Bass variations. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] Performers also add their own refinement by ornamenting select notes throughout this movement. Similar to their addition of bass notes, the use of ornaments is subjective, depending on which phrases the performers wish to emphasize. One common place for ornamentation occurs at the first strong cadence to the B b tonic in measure 4 Figure 12). Antonio Escobar leads into the cadence with a trill, adding to the tension and release. Barrueco plays the composed three-note ornamental figure slightly before beat five, and

42 42 then plays C5 preceding the resolution rather than D5. Both Yamashita and Galbraith use an appoggiatura to intensify and delay the resolution, Galbraith also adding an ascending arpeggio and octave displacement in the bass. Violin Original Escobar Barrueco Performance Yamashita Galbraith 4!! & && & ) && &! &,! & & & &&&& & & & & ) ) ) & & & ) & &&& & 4 *! & & & && ) && &&&& & & & & & & ) ) ) ) & & && &&& & 4! & & & && && & & && ) & & & & & ) ) ) & & & ) & &&& & 4! & && & ) && & & &&&& & & & & ) ) & & & & ) & &&& & 4 & && && & &&&& & + & & & ) ) ) & & & & & & &&& & Figure 12 Siciliano, Sonata no. 1, m.4. Variations in ornamentation. Javier Calderón and Andrés Segovia play this same cadence with additional harmony, as shown below Figure 13). Unquestionably, this gives the chords a more full sound, but such alterations run the risk of changing the harmonic language of the passage, and should be used discreetly.

43 43 *Calderón Segovia 4!! & && && & ) & & &&&& & & & ) ) ) & & & ) & &&& &! & && & ) && & & &&& & & & & ) ) ) ) & & && &&& & Figure 13 Siciliano, Sonata no. 1, m.4. Calderón and Segovia harmonic variations. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] My edition of this movement takes an approach similar to Manuel Barrueco and Nicholas Goluses, which is that of few changes. The alterations are subtle, and retain a clear sense of line, avoiding noticeable octave skips. Although this movement needs no alterations to be effective, certain figures can become more idiomatic to the marimba, which benefits from the aforementioned techniques. The following three examples illustrate subtle alterations that utilize the marimba s characteristics in an expressive manner Figure 14). Figure 14 Siciliano, Sonata no. 1, from mm. 4, 8-9, 13. Alterations in Bastian edition.

44 44 Sonata no. 1: Presto, BWV 1001 Except for the cadences at the repeat and at the ending, the Presto is monophonic throughout. The quick tempo of the Presto makes any additions to the music difficult to realize, and, as with the Siciliano, this movement stands well enough as written. However, bass accompaniment can strengthen the harmonic foundation and clarify the movement s phrases, and guitarists often take this option. Admittedly, this usually requires the movement to be played at a slower tempo. Still, as a matter of personal expression congruent with Baroque performance practice, guitarists often choose to add accompaniment in varying degrees. The phrases of the Presto are held together by clear motivic ideas that move sequentially by related key or by step usually over a span of four or eight measures. Therefore, the most obvious target measures in which to add bass accompaniment are the beginnings of those sequences. To distinguish the sections even further, guitarists often use one type of accompaniment or lack thereof) throughout a given section. The example below of measures illustrates how Paul Galbraith uses this accompanimental technique Figure 15). Here Galbraith stars the passage with a two-bar accompaniment pattern for the two-measure ascending sequence. The next four measures move in a onemeasure sequence, with a new bass pitch for each measure. Finally, Galbraith uses an eighth-note bass accompaniment leading to measure 32. Thus the accelerating bass pattern not only delineates the phrases of music, but it also creates a driving motion towards the cadence.

45 45 Galbraith in A Minor) !! &! ! & ) ) ) ) ) ) * ) ) Figure 15 Presto, Sonata no. 1, mm Accelerating bass pattern in Paul Galbraith s performance. The Bastian edition follows this same idea until the last three bars of the phrase Figure 16). Measure 31 is influenced by Javier Calderón s edition and measure 32 is a combination of the two editions mentioned Bastian Edition !!!! !! &! &!!! &!! &! & & & Figure 16 Presto, Sonata no. 1, mm Bastian edition influenced by Galbraith and Calderón. At times, only one or two bass pitches are necessary to mark the introduction of a new phrase. Many guitarists choose to mark the striking change from B b Major to the D dominant-seventh harmony in measure 87 Figure 17). As shown, Yamashita, Escobar, and Calderón emphasize the change with only one additional bass note, a low D3. 27 Bach, Calderon, Transcriptions,

46 46 Manuel Barrueco uses one preparatory bass pitch, B b 3, the bar before and re-attacks a D4 in measure 88. My edition uses two of Barrueco s pitches, but, like the other three guitarists, it uses only one bass pitch for the new harmony. Violin Original 83!! & Yamashita, Escobar, and *Calderón 83! & Barrueco Performance ! & Bastian 83! & 89 Figure 17 Presto, Sonata no. 1, mm Original notation, Yamashita, Escobar, Calderón, Barrueco, and Bastian versions. [*Reproduced from Bach, Calderón: Transcriptions for Classic Guitar MB96683BCD), page Mel Bay Publications, Inc. All Rights Reserved. Used by Permission.] In general, the additions made to the Presto follow the principles outlined: they emphasize the harmonic progressions and delineate phrases. Although the edition requires a slower tempo, the intensity and flair of the Presto remain, enriched by appropriate self-accompaniment.

47 47 CHAPTER 6: COMPARING CONTEMPORARY EDITIONS Sonata no. 1: Fugue, BWV 1001 and Fugue for Lute, BWV 1000 Johann Christian Weyrauch, a Leipzig lawyer, lutanist, and friend of Bach, transcribed the Fugue from Sonata no. 1 into a lute version in French tablature: Fugue for Lute, BWV It is unknown whether he copied a transcription by Bach or made the version himself, but its quality leads researchers Ulrich Siegele and Dietrich Kilian of the Bach Institut to believe it is based on an original Bach transcription. 28 Because of the extended range of the lute, the most common adaptation in the lute version is the addition of bass accompaniment. However, some changes are likely the result of technical limitations of the lute. 29 The most significant structural change appears in the exposition, which is the equivalent of two measures longer in the lute version Figure 18). In this opening section, the lute version contains virtually all of the same figures as the violin version, with some additional material interspersed within. The added material develops the subject in the lower register, which is outside the range of the violin. Notice also the bass accompaniment in the bottom system. 28 Hartwig Eichberg and Thomas Kohlhase, Johann Sebastian Bach, Neue Ausgabe Sämtlicher Werke: Kritischer Berichte, Series V, vol. 10 Kassel: Bärenreiter, 1982), 159; Cited in Bach, Koonce, Solo Lute Works, viii. 29 Bach, Koonce, Solo Lute Works, viii.

48 48 Violin Original 1 Fuga!! & & & 2 & *Cherici Edition Lute) 1! 2 3 ) & * &! & & + & + + & 4 & + * & + & 5 + & * + & & * & ) & + & & + & 6 + & ) * &! 7 3 & ) + ) & 6 & * + -, 8 & ) * &..! 7 * ) ) 8 9 /. * ) ) Figure 18 Fugue, Sonata no. 1, mm. 1-8 compared to Fugue for Lute, BWV 1000, mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] It is not uncommon for modern guitarists to incorporate portions of both violin and lute versions. I have chosen to do the same in my edition. One example of this is in measures mm in violin version; see Figure 19). Note in this example that

49 49 Cherici s lute edition, based on Weyrauch s tablature, is identical to the violin version in the first two bars, but then it drops the bass note in the next two bars. The upper voices of the lute version also differ in the second half of m ). Koonce attributes this change to technical simplification for the lute. 30 Violin Original !! & & & & *Cherici Edition 40! & 41 & 42 & 43 & Figure 19 Fugue, Sonata no. 1, mm compared to Fugue for Lute, BWV 1000, mm [*Reproduced from Bach, Cherici: Opere Complete per Liuto, page Sugarmusic S.p.A. Milano Italy). Used by Permission.] Some performers, such as Julian Bream and lutanist Konrad Junghänel, have taken another approach to this passage by repeating the pedal tone in the bass Figure 20). This technique comes close to the rolling technique on a marimba, only the repeated notes are more separated. It is also likely that the notes are not intended to create a true sustain, but rather a rhythmic intensification ! Bream! & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & Junghänel! Lute) & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & Figure 20 Fugue for Lute, BWV 1000, mm Bream and Junghänel performance. 30 Bach, Koonce Solo Lute Works, 87.

50 50 The Bastian marimba edition takes its influence from all of these versions. This is done with a slight emphasis on the strong beats, a drop to the lower octave, and repetition of the pedal tone Figure 21). My edition of this movement follows this approach throughout; the lute exposition is used and much of the additions are in the form of bass accompaniment Bastian! Edition &&& &&& &&& && & &&& &&& &&&& && & Figure 21 Fugue for Lute, BWV 1000, mm Bastian marimba edition influenced by above renditions. Sonata no. 2: Grave, BWV 1003 and Suite for Clavichord: Adagio, BWV 964 Sonata no. 2 for Violin Solo, BWV 1003, originally in A Minor, also appears as a harpsichord suite in D Minor, BWV 964. The first movement of the harpsichord version, Adagio, corresponds directly with the Grave of the violin version. Whether or not Bach wrote the harpsichord version has come under question, as some have attributed the work to Wilhelm Friedman Bach. 31 Others continue to attribute the work to J.S. Bach. In any case, the harpsichord edition gives a satisfying approach to adaptation similar to that used for lute and guitar, in that it uses self-accompaniment techniques such as basso continuo, full harmonies, arpeggiation, and ornamentation that fit the nature of the instrument. 31 Richard Abram, review of Sonata in D Minor BWV 964); Harpeggio and Fuga in G Major E114); Ciaccona in D Major K 403sub2/sub); Suite No. 1 in A Minor E 115) by Johann Sebastian Bach, Johann Joseph Fux; Robert Kohnen harpsichord), CD recording, Early Music, Jul. 1980):

51 51 A comparison of the first two measures illustrates some differences between the editions Figure 22). Here we see how the harpsichord version contains added bass notes and left-hand harmonic accompaniment. Although not seen in the edition, harpsichordists also commonly arpeggiate chords to give them more length, stemming back to the practice of style brisé. One would also hear much more ornamentation in harpsichord recordings than is specified in the score. 32 * Figure 22 Grave, Sonata no. 2, mm. 1-2 and Adagio, Suite BWV 964 originally in D Minor), mm [*Reproduced from Bach, Dadelsen: Suiten, Sonaten, Capriccios, Variationen, page G. Henle Verlag München. Used by Permission.] Guitarists, likewise, use bass and harmonic accompaniment, arpeggios, and ornamentation to personalize their performance of this movement. The figure below shows some guitar renditions of the first two measures Figure 23). All four players use an arpeggio to begin the movement, yet each one has a unique character. Note also the differing amounts of harmonic accompaniment throughout, as well as the variations in ornamentation. Such variety provides many options for the transcriber, engendering creativity and personalization. 32 See Discography