W100 Johann Sebastian Rach Ore {ute SUL Kdited for Guitar by FRANK KOONCE BIGUNTCM CLUE TYJohann Sebastian Rach oyhe Solo ute Works Edited for Guitar by FRANK KOONCE Second Edition [gOS NEIL A. KJOS MUSIC COMPANY - SAN DIEGO, CALIFORNIACONTENTS Smarces and Vistoreal Data. ‘he Lute-Harpetchord nn Aspects of Baroque Performance .. ‘Omenentation Embellishment Stylieed Dance Movements... Rinythmie Fienbiity Atierpe te Regulate the Dat. Ristoricand Alf Artcslation, Testare, aad oie Original Notation Symbol. Faiterial Notation Symbols Suita, BUY O05 Fourtoen-course Lara (Phorbo) ooo Suite BY S86. ‘The Face of Bach... Suite, BWV 997 Pretads, Fugvesand Allegre, BWV 998... Blower 2ourse Late Profude, BUY 980) Fugue, BWY L000 Buite BYY 1660 Beading the Manuscript Sources Faceimile Reproductions . aaeuu ohh Stitb.n eee Siaea ACKNOWLEDGEMENTS Lam graieful to many poople who contributed te Uhie project, Barly-music specialist and keyboardist Richard Troeger co-authored Ue section entitled “Aspects of Baroque Performance” In addition to Richards invaluable sszictancein develaping the gentral text, ‘the specific entries marked with [RT| are entirely his own contributions. Lutenist Tim Crawford and musicologist Isakes Gyawa pravided insight and information contained in the section entitled “Sources and Historical Data.” Barly-music specialist and. ‘keyboardist Uia Menning, and hargsichord builders Anden Houben and Rudolf Richter provided information aad phatograghs ‘pertaining to the lute harpsichord. Teri Noel Towe, whose research into Hach icancgraphy led ta the re-discovery of an important. ‘ost portrait of Back (showa ou paye 44), shares substantial documentation about Bach's image. Mony fine guitartate shared thair time and talent by oflering valuable insights and suggestions on matters of notation, fingering, voicing, end ther essontial elements ofthe music. [n perticular, Would lke to rocognize the sontributéonsof Mesut Ozgen, Kcistian Anderson, Christopher Herg, Stanley “Yates, Cain Budd, Jeffrey Genege, Thomas Archbold, Jamos Boglo, Atcelfatiah Dauk, Ronald Purcell, Larenzo Caponetti, Matiea Mela, Wiliam Tallman, and Cazistopher Doreey,all of whom { ogunt as my friends as well as respected colleagues. wish tathan ke Marie Levesque snd Paul Gerrits, of Les Belitions Doberman Yppan, wha facilitated the grajects inception; Sylvain Lamas, of Les Productions d'OZ, who did themusie engraving and text layout; and Balls Hutchinson and Gabriel Guillen, whoprovided translations ‘and assistance with international sommunications. Wott of all, wish to express my appreciation and fave to my wife, Leanne, who not only gave me rupport end encouragement througheut chis endeavor, but who also played substantial collaborative rotein its production, ‘The book's beautiful raver design and much of the graphic layoutare her ine work: &s tn artist, ON THE COVER Johann Sebastian Back — from a painting by Elias Gottlob Houfinann, 1748, 9 the Collection of William H, Schsid, Princaton, ‘Now Jorcoy. Soe page 43 for additional information.iti PREEACE TO THE SECOND EDITION ‘Aa edition of musi, the anys else, te a product ofits ‘own time, During the 1980s, guitarists af my generation were starting to become aware af stylistic concerns in the Interpretation of early music These was a mavement towards siplistic authenticily, an attempt to rediscaver the origi intentions of early composers and recreate the aesthetic lements that wore appropriate to their musis. (Many style- conacinus players today no longer think of being “authere"— fs concept unattainable both in theory snd in practice — and ‘refer, instead, to use the term “historically informed.") This itoring movemenbis what Brst prompted me te reeareh the Tuts musie of Buch and ts develop my own edition ofit, tried te find pecfermancecelutions of the guitar that werwas faithful ‘as poreible to tho original rausis und to clearly dolineate any rnocosenry oditoria alterations. In particular, I attempted to progervs tho integrity and independence of Bach's original voicing, I have since come to bbolieve that coraetimes [went too farand cemetimes did aot ‘go faronsugh in doing this: went too Garin places where the ‘usical endiresults are not justified by rxorssively difficult Aingerings meaded to achieve Uxems; [ did not go far enough ‘when I falled to provide fingeriags that brig out lines that tere implicit, although. not specifiealy eifferentiated in the core. (Bach did not elways distinguish individual voices vespaciolly inner voices -in his notation, to save the utter of rests, ties, multiple etems, and the like.) belive that in this ‘revised edition | bare been better able to integrate the ftiomatic qualities and lieitetions of the guitar inte my. ‘srenceription: while alll bing faithful to theepirit andintent ‘of the eriginal. My goal ia-o blend scholarehip with practical ‘perdorraance selutine for the guiter. Tac alae ploaved le be able toinclude updated research, data; i newly dlscovared portrait of Back; and a facsimile of ‘the original manuseript of the Prelide, Pasgue and Alleges, FIUY 998 that wae unavailable at the tims of the feet edition, Frank Kaones “Arizona State University, 2002 EDITORIAL CRITERIA Baitions of published music usually fall inte one of four ‘ategories ~ Performance, Pacsizle, Urtext, o Critical ‘A Performance Edition adapts the original text, providing ‘echnical and musical solutions forthe performer while taking ‘he capabilitiesand limitations of perticularinatrameat into «consideration, Although performance editias cften are helpful jn learning mew literatura, they nevortholess refleet the ‘pintons uf their editors and tend not tedistinguish between original and edited material. ‘AFocsimife Bdition provides. photogeapbic reproduction ‘f the original for those who wish to draw their own interpretive and technical canelusions from anunaltered text Raceimiles are often problematic, however, because of pbcolete ‘hotation and beconse of the mistakes and ambiguities that almost always secur in hand-topied manuscripts and early printed sources ‘An Urtext Edition COriginal Teat” Béition) fs usually an atiempt to overcome the problems associated with facsimile editions by converting the origmal scare into modern notation swithout farther editorial intervention. Gne must realize, however, thas an Urtext or facsimile edition that is based on. poly one source, without reference ta other authenticated contemporary versions, willfailtoprevide the fll background ‘ofthe misc, the word wrest ean often be misleading ‘ACritiea! Eaton sucks to dowrmine the composer's ue inlentions thrvagh a scholariy comparison sf various sources Similarities avd significant discrepancies are analysed to determine which resding baa the greatest validity. When an autograph ne longer survives, as is thie cats with four out of ‘ihe seven present works by Bach, many analytical and ‘historical factore must be taken iata.canaideration. Although foundad on echolarship, critical editions, like perfarmance ‘ditions, are affoctod by thelr editors’ judginent concarning ‘hich eourss readinga are io be preferred ‘The procont odition cosks to combine in ane publication the beet editrial qualities ef al tke aboresapprosebesin order ‘te produce # reliable performance editien for the guitar, focndod on scholarly principles. Minor chsngss from the ‘original areidentifd within thensore(aoe “Ediiarin! Natation Symbols") and, for some passages, altarnctive-salutians are provided on parallel stevesbetween the msinslaves. Passages that require more complex alterations, performance sogestons, or critical commentary are mavlid by asterisks that velar the reader tothe notes the end ofthe moversent, Facsiriles of selected orgital sources are also provided in the buck ef the book far cumparisos, ‘The surviving manuscript of Bach's ute musie are either in French Baroque te tablature ar in-double-sta natation with the upper staff urually’in soprano o tenor elf, and the lower ia bass clef Thicedition has adopted the madern guitar convention ofa single staff in treble clef, netated ane octave higher than the actual sounding pitch. Whale the Suite in B Minor, BWV 886.and the Suitein E Major BW 10080 remain fn their ariginal keys, the other compositions are transposed lotheleysthatereiwost often uied by guiaristaase practesl necessity for performabos. Fe clarity chords enecfen notated vith a single stom rather than filewing the Baroque proetice of having separate stem foreach not, exceptions are mace in cases where the partwriting would otherwise be obscured Accdientls follow modern usage in that they remain valid for tte duration ofthe measure aad are repoatadenly wher serving as a perfeernanes precaution. (In commen Baroque practice sccHler‘als were intended toaffect ony the notes before which ‘hey werepaoad,thereice, they had tbe rewritten every timo ‘ho altered note recurrad within tse mesure) ‘Although advanced players usually peefer to determine their own Cingeringe, any students who are inexperienced with Backs music andor mith Barqque syle fin edirial sugpestions helpful, Countless allersatives are gussibley of course; and oash player ultimately must decide what works best within his er her technical ability and musical aesthetic No attempt has been made ta equste the fngoring aid sctivulation solutions for the guitar with thoes forthe lle 22 ropreccnted in the surviving tablaburee ‘Tha intent ofthe present edition is tauncnurage nnd sesist students in dovslaping en onderatanding for stylistic and historical concerns in Bach's music. Thoditer hopes that thie work will serve, additionally, ar avakuablerezaures providing ‘ew poeforma nos options for profosconal gitarite in search of their own enltions, wateREFERENCE INFORMATION ‘The Niaip Feck-Ainggebe (New Bach Foition", often ‘abbreviated NBA, is the most comprehensive and sclarly ‘ition t date ofthe eomplste works of J. Buch. Published in 1978 by Baronreiter, the cole tute coxpoaitions edited hy ‘Tromas Kehihase are to be found in series V, Vol. 10, pp. S1- 147. The Kritiche Berichue (Critical Reparte’) of the lute works were published separately in 1962 (Series V, Yal. 10, pp. 90-189). The NBA, to large exteat, editorially supersedes She Bach Geselishaft Ausgabe (BGA), the first exmprehensive edition of Bach's works, completed in 1900. Much of the information pectaining to the aocurary and authorship of the Jute manuscripts, their dates of composition, and other historical data sontained inthe prevent guitar edition has boon taken frum thediritische Berichiv of the NBA. Other important secondary soureys have been consulted as well and are elted lth footnates. ‘The compositions are identified by numbers, preceded by lite initials "BWV" that stand for Hach-Worbe-Werseichnis ‘Cedex to Bach's Works"), These numbers wore first assigned ‘in Welfgang Schmiedor’s thematic eatalogus of Bach's works, ‘published in 1958," SOURCES AND HISTORICAL DATA SUITE, BVW 005 ‘x autograph manvecript Source Al iia tbe possesion ofthe BibiotAigoe Hayate Abert 1 tn Brasco (Fotis 2010= Ms. IT 4080). I bears imo ttle cn the ower, "Pies por la lueh 6 / Monsieur Sehouster ¢ par / JS. Bach,” and on the Inside, “Suite pour da Luth port. Bock * ‘Another manvaeript (Source B),entitlod"C mil / Pisses? pour | eu par 13° 8. Bock,” written in Freneh tablature, ‘nprevervodat the Stadéb ithe is Leipag (Becker, [.3)° Aversion for the call exists in C minor a8 “Seite Discordable” (BHV 1011), I is included in three surviving ‘manuscript eollacions (stemming {tom a lost autograph) of Bach’ sit ello suites, now preserved at the Staoisbiblithek zu Borin - Prouplisoher Kalturbesite. The iat clleation en P26) isin the hundvritng of Bech’ wife, Anas Magdslora (Source Othe sbeond (ms. P 804) i a copy mad by Bach's coniamporary, organist and composer Jabann Peter Kellner (Source D); and the third (au. P 258), Leicved te date frost the second alfof the eighteenth century, Is ln. an unidentified handwriting (Souree B) ‘Comparison of the Sources ‘The aulograph, on which tho present edition is based, rmustbe regarded ks the definitive sourceshowever,somparisea with the other msnuseripte provides additional insights and perspectives on the music. From the earlier callo versie, (ca. 1720), for example, one ena see how Bach's implied counterpsint, inberent in many of the melodic leaps of is e-line notation, forms the basis forthe actual palypboay’ realinedin the hte version (ea. 1727.31) ‘Two ofthe cello manustripts (Saureee Cand I cll ran ‘unuowal tusing. Theplayrie fnstructed slower the string ‘ne riep to accommadaie the playing of chords that olerwive ‘are difficult or iapossibe in conventional taniag (C, G,, 8) ‘The notes found on this string are then written cnetons higher ‘han the actual pitches proceed. In ether words, these notes ‘ara written with respect to normal finger placement 40 that the performer dows not have to compensate, mentally, for ‘Sisplaced positions. The use of this scordatura (Italian: “mistuning” ie, a tuning other than normal) is why theenlo ‘version carries the designation “Diseardable* From the inscription “pour Ja Lweh” in the autograph, the sditorsof tho NBA conclude that this suite is nesuredira lute composition.”* Its range, however, extende helow that of a Normal thirteen-course late. Bach may have had a fourlewn- ‘course instrument in mind (eae page 22) or paesibly o lute harpsichord (ese pag inl For this suite to be performed on 8 thivteti-crurse lute, the music oust bealleced, The version in tablature (Source B) fomtains many alterations Qike those alten necessary for gutter transcriptioash, such ax octave displacements, chord re ‘oveings, and the delayed striking or omission of chard tanes. For this reason, it should net be considered fer the purpces of roconstrosting an authentic text, Additional changes also eocur in rhythm, melody, and harmony in plneaé that chow no ‘apparent musical or technical juutification, suggesting that ‘the arranger may have worked fom an inferior secandary copy. Nevertheless, the tablature version is an important sauree of information concerning the practices of a period hutenist in ch matters as finger placemeat, articulation, and ‘orsamantation ooe “Articulation, Texbare,and Voicing,” pul In # 1983 essay, Hans-Joachim Schulze identifies “Monsieur Sehauster* inthedadicetion on the autograph eapy ‘8a bookoellerand publisher in Leiprig whove ieruesineluded music by the Baroque lutenist Adam Falckeahagen (2607- ‘en.1761)! Schulze was the irs to suggest thet the tablature vay was by Falckenhagen, or is eirele, and ates from the " Wollnsg Sehnieder, Mernate - Syeimatiches Vezeichnis der ‘Mandaockan Works tan.JS.Baoh (Lapa itu 2 ural, 155} * A transcription of Source Bt into ders netatina may be found ix 4.8. Bach: Opere Coonpete Per Litoyeditedy Paole eric (Bla: Suvint Zerbon, 1980) pp. 12-32 1 Hari Bidhburgand Thema Hebihus, Jaana Sebastian Boch, ‘New Ausgabe Saruticher Werte: Kritizchor Bericht, Seria, vl. 10 Raseet Barenreie, 1982}, 21 W100 "Wana Radke, “War ohana Sebavtlan Bach Lautenspleler’= Posteo Hang Bagel onim 20. Caburtelng al H. Movaeoer Kase: 1054) 2814 According te Radice, ths sue cnet be play mato ‘by eateca the late As Bac takes the echnical playability ofa sting vo ile ints eoaaidarain it fllaesUaat Beth was no late plover. Might the mnoe Suite poscbly have been cuncsived atthe hte harpsiehoee? ip. 2801, * Hanteloschim Schulse, “Monsiaar Schouater'~ ein rer Geitgenosse Johann Sebastian Bach" callectedin Bachan ef Alar ‘Musteolagix Fest Aled Dorr (Kassel & Basel Batons, 13085) 263-250,17900, (Falsenhagen wae alse childhood néighbor of Johann, Christian Weyrauch, intabulator of Suite, 2WV 997 and the Fegue, BWV 1000.) According to tatenist Tim Crawfont Whaat Sehulew ditt uw eta he ablanare ase the ‘same n'stam of rotation ef wnamentsundother tectnical orice at Falckendogen ted sn hie pring tute musie ani in two Lables of autersMarderen 'Lute-Groees) ira, Ite MB (ca. 1780), ow ox Nuremberg Si seer highly likely shat this arvangemest is Falckentpen's ata itis possible that tbe arrangement wai ceemissioned 89. [Mansieur Schouster wha mould hve wxpectel insta produce a plgable product he could markyt"? SUITE, BWV 998 ‘A manuscript is the handwriting of Join Gottiied ‘Walter (1684-1748), (Source foter contained in collection by lohan Lan rg Has (1718-1780), is the principal eoureo for thin eulta? No motograph ix known laws. Walther’sempy ianow precorred al the Staatshbliethclts Berlin-Prenlacher Katearbeits (Musas. Bach P&I, pp. 936-885). Tho elenends "Praztusio- een lx Suite 1 da | Gia: Bast Back." ‘Anecend early copy, ate/buted to Bach's pupil, Heincich ‘Nikolaus Gerber, is naw in an wdisloeed private collection * ‘Thie marseript had bees used, however, inthe preparation ofS, Biche Kieverwerte edited vy Hans Blechaff in 1888, (Source 8) From his edition an appreximate reconstruction, of Cerber’s original i possible, [A third sopy (Source C), withthe work tranapated to A riner, is now housed at the Bibliothigue Royal Aitert I ia Brussels (tis 2960 = Ms, If 4009), 1: has been dotermuined fiom the writing and paper thot this manuscript dates from the latter hal of the ehteenth centery, The identity of the cappietis unknawa.™ Comparison of the Sources The copy by Walther dates fraca between 1710 and 1727, thereface, this i an warly work, whan Bach wae in Welmar® ‘The Gerber manuseript may have served asthe model fre ‘Swurce C beeiuse many of the Inttor’s variants concar with ‘thoas ofthe Hane BisebnfEedition, lis transposition to miner may be explained asssn stterpt to areommedate the range of small keyboard instrament, Since this manuscript iserror- ridden and does not clarify any questionable eifferences between A and Bi, it may be disregarded fer the purpose af constructing an authentle text. ‘The most significant difference between the Walther ‘manuscript and she Bischoff sition is theaccounting-of small rhythmie values in passages of rapid notes that follow dated, ravtes. The rhytiimie notation in the Walth+r manuscripts ‘sometimes inaccurate in such placos, reflecting the variable * Tum Crawond (King’s Collge, London Inrnation kindly prod. through perssaal communication. 2 Wlaer, Hac main na ne egal comp, atl latogr ae, Kevbe, a fotenst,viotnie, onpanist, wat comyooes, stud! with Bach atthe Phomasichuletn Lespig from 1720-35, * arog, am orgacigt and compeses, is best remembered ak. copy ‘ands couree of informarson on Bache teaching mnie » Mian Bischoff JS. Bach lacterwerte (eri: Stegrater, 1888), eprint Baek: Various Works, vol. POLY: Kalas, a d),pp. 21-28" ¥ value adot may have in Baroque music, wherens the Bischoff ‘dition shows an ateimpt to "rogulate" the dot inte presice ‘measurements (eee page x7 ‘The old Bach GeeelchaftAoagate is based pelmarity on the Bischoff edition and it uses the same rhythmic solutions found therein, The Néi anc ihe preseat guitar edition ore haved on the Walcher manuscript, nevertheless, the NBA ‘editors still chost to regulate questiomable passages Loto precise notation (but with diferent conclusions regarding slispasition of the notes), The present eitar has chesen instead 1 retain the notational ambiguities af the original and leave theie various presbilties ofinterprotation to Uhe performer's slieretion ‘An inscription, *oufs Leuten Werck;* that apocans below ‘ho title sf the Walther manuascrip, isthe oaly reference in al ‘of Bach's ruse to the luteharpeichord. That the suite was intended exchusively for this instrureent: however, eannot be ‘concluded since the inscription is « later addition from an ‘unknown hand and is not eoofirmet by the’ other sources. “Acranding to the NBA editors, “The range af C-c" and the character of the mavementa cleatly speak in favar of w lute composition, However, Bach uses the chararteritiocef the lute Jess than in ths toier works fer this inatramanis a fact tha could be explained simply by ts early date of origination." In spte of these argurbeats forthe Jute, the present writer believes that those favoring the lute-harpsichord compelling: In addition to the inseriptica below the tile, one snust consider thot the corepositional style strongly sugmeats tho use ofa keyboardinstrument. Also, nost significantly, the Jwest note, C, ancl the highest, c' is the precise narrow compassof tha fia! lte-harpaichord built by Johana Christoph Pleischar abd intrudueed in 1718 (sce pegeix” Perhaps this ‘work was created for the occasion of Fleischer'snew invention SUITE, BV 337 Altsough an autograph of the Suite, RWW 997 no longer ts poosble to recanctrust an cuthentie text through evaluation of corresponding featuros in the available ramuseripts, af which there are many A. Copy by Johann Fitedrich Agresta, dating free 1795-41" Stoatebibtiahck su Berlin» Preaplscker uliarbesits (Mus, mi. Boch P 650) 1 Anonymous copy dating from 1556, Hessische Lanies-und Wochschutbbliouie, Darmstad Bus ras. 1322) Fugue incomplete from a. ©. Ninetesnth-eeotury cony by Antan Werner. Stantsbibliothek 2a Berlin - Preufiseher Kutturbesit2 (Mus. ms. Bach P 906) D. Copy by Jehann Christian Weyrauch ® Musihbibliothck der Siodt Lemeig (Seramlung "A tacsmie of Source O, altheugh ecroneouriy attributed ws Gerber, siay bo found in folane Sebastian Bach. Suite in E minor BWV ‘298 eed by Racal Tarec NY: G Schirmer, 1963), pp. x8-ni 8 Bichberg and Kobilnse, BA, p 120 ‘Bichberg sod Kotiase, WEA, p 121 “Andre Burgutte, "Din Lavixnkompoaitiwen otc Sebaatien Backs, Bio Heiteig sur eritiachen Wertung aus spelymtischer Sick," (Leeig: Bachlohréuh Jp 9, 1977 26-96 ‘Agricola (TF20-1774 | organist and eumpaie, became a pupil Back after be entered tae Unseersey of Leipesg i 1738, wau00vi Becker 1If, 11. 6). Notated in hute tablature. Movements 1, 3, and 4, B, Ananymons late teenth