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"The three sonatas for viola da gamba and harpsichord, BWV 1027-1029, by Johann Sebastian Bach hold a significant place in Bach's oeuvre, and, by comparison to similar works of his contemporaries, in baroque music history. This paper sheds light on differing hypotheses on their origin and collates the most current and compelling scholarship on these sonatas. Long-perpetuated assumptions regarding their history are questioned, and each work's style and form are analyzed...This project serves as partial completion of a project that culminates in a recording of these sonatas arranged specifically for string trio: viola, violin, and cello. This paper also examines these works' histories--their extant scoring for other instruments (in the case of BWV 1027 in G major) by Bach and possible origins as works for other instruments--further underscoring the historical precedent of their arrangement for different instrumentations."--Introduction.
Bach's Three Sonatas for Viola da Gamba and Harpsichord (BWV 1027-1029) are most likely transcriptions by the composer from earlier instrumental versions of the works. The solo part in this new folio is edited for double bass using normal orchestral tuning. However, the keyboard part, including the solo line, is from an earlier violoncello edition by German cellist Julius Klengel (1859-1933).
This edition of the Bach Cello Suites is appealing to both the scholar and the performer. The genesis of this edition was the alignment of the relevant manuscripts for easy comparison and study using a line-by-line layout. It has resulted in the ultimate scholarly approach to the study of these manuscripts and has led to many discoveries concerning notes, trills, dots, dynamics, and rhythm. In the scordatura version of "Suite No. 5," pitch names are given above the notes for the re-tuned top string, clarifying confusing elements in the notation. Fingerings and bowings in this edition reflect those used on the DVD set of Starkweather's performance of the suites (item number 730150). Reference to the manuscript edition makes it possible to visually assess the ambiguity of many of the slurs and to reach one's own conclusions.
A concentrated study of Johann Sebastian Bach’s creative output and greatest pieces, capturing the essence of his art. Throughout his life, renowned and prolific composer Johann Sebastian Bach articulated his views as a composer in purely musical terms; he was notoriously reluctant to write about his life and work. Instead, he methodically organized certain pieces into carefully designed collections. These benchmark works, all of them without parallel or equivalent, produced a steady stream of transformative ideas that stand as paradigms of Bach’s musical art. In this companion volume to his Pulitzer Prize–finalist biography, Johann Sebastian Bach: The Learned Musician, leading Bach scholar Christoph Wolff takes his cue from his famous subject. Wolff delves deeply into the composer’s own rich selection of collected music, cutting across conventional boundaries of era, genre, and instrument. Emerging from a complex and massive oeuvre, Bach’s Musical Universe is a focused discussion of a meaningful selection of compositions—from the famous Well-Tempered Clavier, violin and cello solos, and Brandenburg Concertos to the St. Matthew Passion, Art of Fugue, and B-minor Mass. Unlike any study undertaken before, this book details Bach’s creative process across the various instrumental and vocal genres. This array of compositions illustrates the depth and variety at the essence of the composer’s musical art, as well as his unique approach to composition as a process of imaginative research into the innate potential of his chosen material. Tracing Bach’s evolution as a composer, Wolff compellingly illuminates the ideals and legacy of this giant of classical music in a new, refreshing light for everyone, from the amateur to the virtuoso.