interpretations on johann sebastian bach’s solo
TRANSCRIPT
Ilayda Irem Canduran
Matrikelnummer: 61800207
Interpretations on Johann Sebastian Bach’s Solo Violoncello Suites in Terms
of Fingering, Style and Articulation
Masterarbeit
zur Erlangung des akademischen Grades
Master of Arts
des Studiums Violoncello
Studienkennzahl: 066/718
an der
Anton Bruckner Privatuniversität
Betreut durch: Univ. Prof. Dr. Lars-Edvard Laubhold
Zweitleser: Andreas Pözlberger
Linz, 11.12.2019
I
INDEX
Acknowledgements ...................................................................................................................... II
Preface ........................................................................................................................................ II 1. Introduction: Johann Sebastian Bach .......................................................................................... 1
1.1 A Brief History of Johann Sebastian Bach’s Early Life ...................................................... 1 1.2 His Life in Cöthen ............................................................................................................... 4 1.3 Unaccompanied Violin and Cello Compositions ............................................................... 5
2. Creation of the Suites .................................................................................................................. 6 2.1 Structure and Formation of the Suites ............................................................................. 7
3. Manuscripts of Bach’s Works ...................................................................................................... 9 3.1 Anna Magdalena Bach’s Manuscript .............................................................................. 10 3.2 Johann Peter Kellner’s Manuscript ................................................................................. 12 3.3 Johann Christoph Westphal’s Manuscript ...................................................................... 15 3.4 Johann Traeg’s Manuscript ............................................................................................. 16 3.5 Chez Janet Cotelle’s Edition............................................................................................. 17
4. The Similarities and Differences Between the Five Main Sources ............................................. 18 5. Articulation Interpretations of the Main Sources ..................................................................... 24
5.1 A Brief Information on Baroque Playing, Bow and String Instruments......................... 26 5.2 Legatos and Slurs ............................................................................................................. 28 5.3 Staccato ............................................................................................................................ 31
6. Style Interpretations of Manuscripts......................................................................................... 33 6.1 The Importance of Articulation at Interpretation of Styles ........................................... 34 6.2 Tempo and Dynamics ...................................................................................................... 36
7. Fingering Interpretations of Cotelle’s Edition and the Following Editions ................................ 39 8. Conclusion ................................................................................................................................. 43
Bibliography ............................................................................................................................... 44
II
Acknowledgements
Before presenting my humble research, I have to state that, with the emotional support I
received from my family members and instructions given by my mentors, this thesis became
possible to achieve. Firstly, I am thankful for my cousin/collegue, Ceren Satana, who has been
a great help through out the entire process of writing. Secondly, I really appreciate the help
from my mentors Univ. Prof. Dr. Lars-Edvard Laubhold and Andreas Pözlberger without whom
I would never dare to start writing.
Preface
Being a violoncello student since I was eight years old, I have studied, learned and performed
the Cello Suites by Johann Sebastian Bach myself for sixteen years. Although I had developed
my own ideas and methods throughout the years, I always desired to discover more about its
main sources, interpretations and effects on the manuscripts on the subsequent publications.
I owned three different editions of the Suites myself, one of them being Urtext, but I have
never examined the manuscripts until I decided to write my thesis about them and their
interpretations.
Many performers and students still try to find the best articulation, style and fingering
to enhance their performance as I do. The purpose of the thesis is not only educating myself
about the fundaments of manuscripts, but also others who are eager to gather more
knowledge about them. Moreover, this research on interpretations based on given
manuscripts would not only enlighten my approach to the Suites, but also help me weigh the
advantages and disadvantages of the manuscripts to ultimately formulate my own
explanations. Finally, this thesis will generate a significant awareness about the manuscripts
and interpretations of the Cello Suites.
1
1. Introduction: Johann Sebastian Bach
“It was in the small German town of Cöthen in 1720 that the Cello Suites were said to have been composed and inscribed by Bach’s raven-quill pen. But without his original manuscript, how can we be certain? […] What would have the music sounded like in 1720? … But if the music is so uniquely captivating, why were the Cello Suites virtually never heard until Casals discovered them?”1
Johann Sebastian Bach, universally regarded as one of the greatest composers of all times, has
been highly respected for being an exceptional harpsichordist, organist and a skillful organ
maker. The composer of famous compositions such as Brandenburg Concertos, the Well-
Tempered Clavier, the Mass in B minor and countless more masterpieces of instrumental and
church music, brought the styles, forms and national cultures together, that had developed
gradually over past generations.
1.1 A Brief History of Johann Sebastian Bach’s Early Life
It all started at home, since he was coming from a unique family of musicians. He could
probably not have realized that everything he experienced at home amounted to a concrete
preview of his later activities, but he must have understood and probably never questioned
that this was, indeed, his world and always would be. He was captivated by the atmosphere
influenced by music and musicians in the whole family since he was born. Also, even before
Johann Sebastian was born, the Bach family had already had plenty of musicians. That are
followed by the birth of yet other important musicians in the family, Johann Sebastian Bach’s
sons, Wilhelm Friedemann, Carl Philipp Emanuel and Johann Christian.2
Johann Sebastian Bach was born in Eisenach, Thuringia as the youngest son of Johann
Ambrosius Bach and Elisabeth Lämmerhirt on March 21, 1685. When he was three years old,
his brother Balthasar, having come to a certain level of musical knowledge, started to be
educated by his father. Johann Sebastian witnessed both his father and brother during their
various musical sessions such as teaching, rehearsing, among practicing, performing, as well
1 Eric Siblin, The Cello Suites: J.S. Bach, Pablo Casals and The Search for a Baroque Masterpiece, New York, Atlantic Monthly Press, 2009, p. 5. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician, Oxford, Oxford University Press, 2000, pp. 21-22.
2
as collecting and copying music which eventually led him among other siblings to help such
duties as carrying the instruments or cleaning them already at a very young age 3.
His oldest brother Christoph had been a student of Johann Pachelbel, who was a
famous keyboard composer, and possibly Johann Sebastian had his first official keyboard
lessons from him, too. Christoph played an important role in Johann Sebastian’s musical
training through, by supporting and encouraging every step of his professional musical
development all through the influential years of his life. Carl Philipp Emanuel Bach remarks on
their relationship: “under his brother’s guidance he laid the foundations for his playing of the
clavier.”4
Johann Sebastian begun school in 1692 or 1693 and did quite well even if he was
constantly absent. Subsequently, he got selected to the choir of the school at Michaeliskirche,
Lüneburg, where he stayed for a period of time, until his return back to Thuringia in 1702.
Most likely, Sebastian attended between the age of five to seven a German school before
joining the fifth class (quinta) of a Latin school, where his teachers encouraged him to set
higher goals on his studies. Instantly, Bach was in an academic and musical surrounding of
abundant division.5
In the following years, he applied to the panel of Sangerhausen to become the organist
there, so he achieved to be.6 As a result, he ended up breaking the tradition of string-playing
in his family by choosing a career in keyboard music and easing himself into the composition.
It is not certain how he spent his time the next few months, but in March 1703, he
landed a position in Weimar as a member of the orchestra led by Johann Ernst.7 This was
probably a temporary stop for young Bach, as his eyes were set on the new organ under
construction in Arnstadt meanwhile. He tried it once the construction was completed in 1703,
then at the age of eighteen, he was assigned as an organist there.
Bach dedicated himself to keyboard music - the organ specifically, in Arnstadt, where
he resided until 1707. He was obsessed with the organ and during these early years, Bach
dominated the foundation of the musical culture of the area in keyboard music.
3 Wolff, 2000, p. 23. 4 Ibid, p. 43. 5 Ibid, p. 55. 6 That determines that he was on an acceptable level on the instrument. 7 Johann Ernst is the brother of Wilhelm Ernst, who hired Bach in his service in 1708.
3
In 1707, he moved to Mühlhausen where he was employed by the Blasiuskirche. Soon
after, he got married to his cousin, Maria Barbara Bach. He composed church cantatas during
the time and copied music to contribute to the choir library. However, the depressing state of
the musical spirit in the city made him want to seek another employment in another place.
Shortly after, he moved to Weimar. There, he worked as the court organist and member of
the orchestra. Nevertheless, he kept his contact with notable people in Mühlhausen.
In Weimar, he focused on organ music for a few more years. During his stay in the city,
he grew interest in finding out more about the style and form of Italian opera and innovations
of Italian composers, such as Antonio Vivaldi. The freshly gained new aspects and innovative
techniques influenced his strategy of composing concerto movements, arias, fugues and
chorales.
In addition, his musical works in Weimar relevantly focused on the keyboard
instrument, as his exact interest would have been a fundamental attraction for the court.8
Bach recorded his first professional job as “Court musician, in Weimar, to Duke Johann
Ernst Anno 1703”, without mentioning any of his activities between his graduation and
Weimar employment. Regarding this matter: Carl Philipp Emanuel stated to Forkel, “nescio [I
do not know] what took him from Lüneburg to Weimar.”9 Most probably his capabilities, as a
well-qualified musician and instrumentalist besides his extraordinary keyboard skills,
essentially guaranteed him of obtaining temporary assignments and provided the ideal venue
which introduced the opportunities for proper employment.
Nevertheless, in order to get away from Weimar, he was expecting to find an exclusive
opportunity: he could anticipate working for a person whose musical knowledge and
enthusiasm was as strong as Bach’s, so that he could receive a personal support.
Subsequently, Bach accepted an invitation as musical director to Prince Leopold of Cöthen,
that was agreed to be from August 1717 onwards.
8 Wolff, 2000, p. 69. 9 Ibid, p. 67.
4
1.2 His Life in Cöthen
As court composer to the prince, Bach was able to experiment with individual instruments
therefore, much emphasis was placed on chamber music.10 He has caught the possibility since
he was treated as a professional in every condition, that enabled him to proceed his chamber
and orchestral music career passionately. His compositions such as Sonatas for Violin and
Clavier, Viola da Gamba and Clavier and the works for Unaccompanied Violin and Cello
reached their final shapes during Cöthen years, even though some of them may have been
composed before.11 Furthermore, given his passion for chamber music, Bach himself given his
passion for chamber music and also played the viola by preference, since he admired to be “in
the middle of the harmony”.12
In Cöthen, he also found plenty of time to concentrate on some pedagogical works,
besides the chamber and orchestral music, such as: Clavier-Büchlein, some of the French
Suites, The Inventions and the first book of Das Wohltemperierte Clavier (The Well-Tempered
Clavier) that contains forty-eight préludes and fugues in all keys, divided into two books. This
collection itself thematised the tuning procedure for the first time in history for keyboard
music. Needless to say, that the system of “functional tonality” gives the possibilities for
musical organization through making all keys of the keyboard equally functional. This tuning
system influenced the Italian concerto composers of the generation and dominated the music
for the next 200 years.
One year after Maria Barbara Bach’s sudden death in 1720, Bach married to Anna
Magdalena Wilcken, daughter of a trumpeter. In 1723, he became the Music Director and
Cantor at the St. Thomas School, in Leipzig; while holding the honorary position of
Capellmeister of Wiessenfels and Cöthen. The position at St. Thomas was one of the most
respected duties in North Germany. He was not only responsible for the students, but also for
the music being composed for other churches in the city. But he was delighted to do all the
demanding responsibilities. Convincingly, this was the beginning of his and his second wife,
Anna Magdalena’s new chapter of life where they spent their twenty-seven years. Exclusively,
10 Thomas Rhiannon, Johann Sebastian Bach’s Unaccompanied Cello Suites BWV 1007-1012: Sources, Editions and Interpretations, Wellington, Victoria University, 1996, p. 1. 11 Robert L. Marshall, The Music of Johann Sebastian Bach: The Sources, The Style, The Significance, New York, Schirmer Books, 1989, p. 8. 12 Ibid, p. 8.
5
the first four years of Cöthen period were the happiest of Bach’s life, apart from Maria
Barbara’s death.
He had a decent status of relationship with the Prince, who was indeed very into the
musical business. Though, the Prince got married to the Princess (named by Bach as amusa –
translated as opposed to the muses) who required so much attention that Bach began to feel
ignored.13 That how much of an impact the Prince had on Bach, that he later even started to
consider moving to Leipzig. Another reason could be that he was also concerned of the
education of his elder sons. Later, he gave a trial in Leipzig, where he was intensely eager to
move to, even though the Princess died before his permission to leave Cöthen. Both Bach and
Anna Magdalena were employed in Cöthen time to time until the Prince passed away,
including a performance in 1724 that involved Anna Magdalena.14
At the same time, he supervised the musical education of his children. From his first
marriage with Maria Barbara, they had seven children, and from the second marriage with
Anna Magdalena, thirteen more children. However, only ten of them survived. Among them,
his six sons; Wilhelm Fiedermann, Carl Philipp Emanuel, Johann Gottfried Bernhard, Gottfried
Heinrich, Johann Christoph Friedrich and Johann Christian, all achieved success and became
famous musicians.15
1.3 Unaccompanied Violin and Cello Compositions Both collections of Unaccompanied Violin and Cello compositions are constructed by the
maximal effect with a least possible instrumental tool. Continuously, Bach, the ultimate
instrumentalist augmented and reformulated the technical requirements of performing by
taking advantage of the natural qualities of the violin and the cello. So, both compositions
showcase virtuosity on account of their individuality. Addition to this, it also demonstrates his
skill to make music even without an accompanying bass line. He created a compressed
counterpoint and elegant harmony with motives of unique and well-articulated rhythms,
exclusively in the frame of dance movements.16
13 Marshall, 1989, p. 9. 14 Wolff, 2000, p. 205. 15 Allen Winold, Bach’s Cello Suites: Analyses & Explorations, Vol. I: Text, Bloomington, Indiana University Press, 2007, p. 1. 16 Wolff, 2000, p. 232.
6
Johann Sebastian Bach was not a composer who put his ideas into written form unlike
many composers. Exceptionally, he wrote a detailed autograph for his Sonatas and Partitas
for Solo Violin, but no autograph is left of him for the Cello Suites. Furthermore, it is believed
by the experts that Cello Suites also had an original manuscript written by Bach himself. Unlike
the violin manuscript which was recovered, no original manuscript of his Cello Suites remained
until today. Regrettably, even if there was an original manuscript, it has been lost. The loss of
the original manuscript leads different copyists to convert secondary manuscripts.17
For almost two centuries, it was believed that the masterworks, the Cello Suites of
Bach, were known by only a small group of professional musicians and Bach critics, and were
thought as pedagogic exercises, rather than performing pieces. After Pablo Casals, who is a
well-known cellist at the time, gave the Suites a mass appeal – which happened long after his
discovery of the Suites – there was no stopping the music from spreading.18
However, Nikolaus Forkel, who was born in 1749, just one year prior to Johann
Sebastian Bach’s death, being regarded as one of the most important figures in the history of
German music in 19th Century, could have known about the Cello Suites long before Casals
according to the meticulous study on the documents about Bach and his music as well as
conversations with his two sons, Wilhelm Friedermann and Carl Philipp Emanuel, which he
published in 1802. Thus, proving that the Cello Suites were in fact not brought to light by
Casals in 20th century. Nevertheless, there is no evidence or record of the Cello Suites being
performed before him.
2. Creation of the Suites
The Cello Suites can be dated back to approximately 1720. The question of whether they were
composed before or after the Violin Sonatas has never been answered. In terms of style, it
can be said that the Cello Suites were the first to be composed. The stable sequence of the
movements and their regularity displays a frequent order for all six suites. However, Suite V
and VI stand out with their virtuosity and their duration. Also, the use of the five-string-
instrument for Suite VI implies that it was composed on a later date. Besides, a five-string-
17 “This chronology is based in part on the text volume of the Bärenreiter Edition of the Cello Suites, Ed. Schwemer, Woodfull-Harris, 2000.”, quoted from, Winold, 2007, p. 9. 18 Ibid, p. 6.
7
violoncello, the Suite could have been composed for a violoncello piccolo, which Bach hadn’t
composed for this instrument before 1724.
It is believed that Bach composed the suites in Cöthen period, where he was employed
as the Capellmeister. Since, his main focus was instrumental music, he experimented with a
variety of forms of instrumental music. Therefore, it is reasonable to say that, he started
composing the Cello Suites there. However, he did not finish composing the suites in Cöthen
period, but continued composing in Leipzig after 1723, where he used a five-string-instrument
in the Leipzig cantatas. (as a proof that he might have continued to compose them after) The
works for unaccompanied instruments was familiar in 18th Century. Despite the fact, BWV
1007-1012 are the primal recognized compositions for violoncello in the German language
countries. The violoncello was already a solo instrument in late 17th Century in Italy.19
2.1 Structure and Formation of the Suites In 18th Century, the Suite form was popular, so it appeared in Bach’s keyboard and chamber
music compositions, as well as in his other instrumental works. To name a few: English and
French Suites (BWV 806-817), Keyboard Partitas (BWV 825-830), and The Sonatas and Partitas
for Unaccompanied Violin (BWV 1001-1006).20
The term Suite usually refers to put together a series of dance music. In 16th Century,
it started to be regarded as a distinctive form rather than just some dance music grouped
together. Owing the fact that, the movements improved in the sense of characteristic. The
most common layout of the primary dance movements was: Allemande, Courante, Sarabande
and Gigue. In comparison to other suite selections, the Cello Suites are the most predictable
in terms of their structured movements.21 Yet, Bach enriched the work by including other
dance movements between the Sarabande and Gigue. This detail deserves a deeper
perspective, as this exposes his attempt to assemble the six Cello Suites symmetrically
regardless of the traditions of the period. On the other hand, each Suite starts with a Prélude,
a tradition that had developed in Germany, under the French influence.
19 Johann Sebastian Bach, 6 Suites a Violoncello Solo senza Basso, Text Volume, Ed. Schwemer, Woodfull-Harris, Bärenreiter Kassel, 2006, pp. 9-10. 20 Ibid, p. 12. 21 Each Suite maintain the aforesaid design of Allemande, Courante, Sarabande and Gigue.
8
Bach composed the Suites skillfully without compromising the authenticity of the
dances. According to this, a basic research on the features of dance structures is beyond
beneficial for any performer and musician. Needless to say, it would also add to their
interpretations substantially.
The Prelude, a term originating from the French language, was an introduction that
was meant to be improvised. In 17th Century, it started to refer to an effortlessly composed
opening movement as a designation to the forthcoming dance movements. The Préludes of
Suite I, III, IV and V present a virtuosity with the arpeggios and difficult passages. Thankfully,
these Préludes are allowed to be performed in any tempo, which might contribute to its
expression.22
The Allemande was one of the most well-known dance movements in baroque era.
Basically, it means a smooth walking dance in moderato tempo. However, in the Cello Suites,
the Allemandes are being introduced in two groups in the sense of tempo: either fast and
joyful, or slow and calm.
The Courante, a French expression meaning to run, as the meaning suggests, a fast and
lively dance with triple beat. From the middle of 17th Century on, there has been two
contrasting Courante interpretations in Italy and France, that finally found its shape in German
speaking countries.
The Sarabande is a triple beat walking dance born in Spain. It was added to the Suite
sometime around 1630. The defining characteristic of the movement can be explained as:
stress on the first two beats of the bar, as it matches the steps of the dance itself. Any runs
are barely found in this dance music, forming a contrast with the following fast movement,
Gigue.
The Gigue, an old English word that means to gambol, was originated in British Isles. It
is a double-meter jumping dance, that is very cheerful and fast. All five manuscripts of the
Cello Suites name the movement as the term, Gigue. 23
22 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 12. 23 Ibid, p. 10.
9
3. Manuscripts of Bach’s Works
Johann Sebastian Bach has been a subject of the study of artworks judging from the general
reaction by critics and artists more frequently than any other composer. This argument has
apparent reasons; firstly, its rediscovery in early 19th Century “marked the first time that a
great composer, after a period of neglect, was accorded his rightful place by a later
generation.” secondly, “eventually opened periods of Western music to discover and
performance.”24
Manuscript copies of Johann Sebastian Bach’s music were constantly in the hands of
other people than Bach. Undoubtedly, manuscripts were owned by the copyists instead of the
composer.
In 18th Century Germany, printed music of any category was a privilege. The printing
method was more valuable than standards of today, that even the composers were fortunate
to have their music published, thus, there were only very few copies available. If musicians or
performers desired to store a composition in their library, they usually had no other option
than copying it themselves by hand. However, Bach’s colleagues eagerly copied his music,
then they allowed their manuscripts to be copied by their own colleagues and students. And
this is how Bach’s music was passed on to the next generations.
What is significant about the manuscripts of that period is not only that they provide
clues on the aesthetic of music, but also puts a light on such questions as: which Bach
compositions were known and who had information about them.25
After Bach’s death, the library of St. Thomas’s School displayed innumerable
manuscripts of performing parts to Bach’s vocal compositions. However, many of the
autographs and manuscripts Bach was holding himself were split between his sons Carl Philipp
Emanuel Bach, Wilhelm Friedemann Bach, Johann Christoph Friedrich Bach and Johann
Christian Bach, as well as Anna Magdalena.26
24 Russel Stinson, The Bach Manuscripts of Johann Peter Kellner and His Circle: A Case Study in Reception History, Durham, Duke University Press, 1989, p. 1. 25 Ibid, p. 3. 26 Anna Magdalena was holding autographs and original parts before her death, based on the information by Stinson, 1989, p. 5.
10
3.1 Anna Magdalena Bach’s Manuscript
Source A: 6 SUITES A VIOLONCELLO SOLO SENZA BASSO COMPOSEES PAR SR. J.S. BACH
MAITRE DE CHAPELLE. Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, Mus. ms. Bach P
269.27
Anna Magdalena Wilcke (Wülcken) came from a musical family herself. She was
educated to be a singer and her father was a professional musician. In 1721, she got married
to J. S. Bach when she was only twenty years old, after almost a year and a half after J. S.
Bach’s first wife, Maria Barbara passed away. She got the chance to become the first female
with a permanent job in Cöthen Court. During the time of their marriage, she gave birth to ten
babies, so she was constantly pregnant for many years. The immensely hectic marathon of
her child births made her a restless wife. As a consequence, seven of her children died.
The years between 1723-1733, she copied some of Bach’s compositions that one of
which was Cello Suites.28 The paper and the graphology search of Anna Magdalena’s
manuscript shows that it was scripted sometime between 1727 and 1731. Originally, also a
part of an extensive manuscript of the Sonatas and Partitas for Violin Solo (BWV 1001-1006)
was written by Anna Magdalena Bach.29
The manuscript of Anna Magdalena has travelled from hand to hand: first Johann
Nikolaus Forkel kept it, then Georg Poelchau, an eager music collector added the manuscript
to his collection – the cover was sealed with a stamp saying “Ex Biblioteca Poelchaviana”.
In 1841, the manuscript arrived at Königliche Bibliothek in Berlin, which later changed
the name to Staatsbibliothek – Preussischer Kulturbesitz.30
27 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 4. 28 Kobayashi and Beisswenger, Die Kopisten Johann Sebastian Bachs: Katalog und Dokumentation, Kassel – New York, Bärenreiter, 2007, p. 20-25, quoted from, Zoltan Szabo, Problematic Sources, Problematic Transmission: An Outline of the Edition History of the Solo Suites by J. S. Bach, PhD Thesis (Musicology), Sydney Conservatorium of Music, The University of Sydney, 2016. 29 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 4. 30 Ibid, p. 4.
11
Figure 1: Cover page of Anna Magdalena’s manuscript – handwriting of Schwanberg31
31 Ibid, Source A, cover page.
12
3.2 Johann Peter Kellner’s Manuscript Source B: SECHS SUONATEN POUR LE VIOLA DE BASSO PER JEAN SEBASTIAN BACH: POS.
JOHANN PETER KELLNER. Staatsbibliothek zu Berlin – Preussischer Kulturbesitz. Mus. ms. Bach
P 804.32
Johann Peter Kellner (1705-1772) was an organist who copied many of Bach’s works,
as well as one of the five manuscripts of Cello Suites that survived, which is being discussed
throughout the thesis.33 It is not proven but thought that Kellner asked Bach for organ and
counterpoint lessons. A note about Bach in Kellner’s autobiography written in 1754 says: ‘I
longed for the acquaintance of this excellent man. And I was, in fact, fortunate enough to
enjoy the same.’ 34
Like Bach, Kellner was a native Thuringan. Even if there was not a personal relationship
between Kellner and Bach, it seems positive that he had the knowledge of him and he
managed to be the first recognized person to copy the Cello Suites. According to Kellner’s son,
Johann Christoph (1736-1803), his father was a close friend of Bach; J.A. Hiller, on the other
hand, claimed in 1791 that Kellner was one of Bach’s best students.35 It is also known that a
manuscript of the Prelude and Fugue in E minor BWV 548 has a survived manuscript by Bach
and Kellner.36 He is one of the remarkably valuable copyist of Bach’s compositions, frequently
his copies are the oldest and only that could have been found for some works of Bach.37 Forty-
six of his Bach copies have survived and it occurs that a considerable part of them have
disappeared.38 Kellner has copied the Cello Suites, but also the Violin Sonatas and Partitas with
the title: “Scrips. / Johann Peter Kellner / Anno 1726. / Frankenhayn”, contributing where and
when exactly he completed the work.39 He was the first known person who named “Suites”
as “Suonaten” and that word has been kept as it is by the editors that are following his
manuscript as main source.
32 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 4. 33 Stinson, 1989, pp. 23-24. 34 Ibid, p. 3. 35 Ibid, p. 14. 36 Malcolm Boyd, John Butt, J.S. Bach, Oxford Composer Companions, Oxford, Oxford University Press, 1999, p. 253. 37 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 4. 38 Stinson, 1989, p. 3. 39 Russell Stinson, J.P. Kellner's Copy of Bach's Sonatas and Partitas for Violin Solo, Early Music 13, no.2, 1985, p. 199.
13
As said before, the contact of Kellner and Bach is not known certainly, but his copy is
claimed to be the closest to Bach’s autograph. Another possibility is that Kellner’s copy was
put together from the original manuscript in Bach’s own hand. (Source X) Also, when it comes
to identify his copies, a complication occurs; Kellner’s copyists mimicked his handwriting, so
that it is complicated to analyze his copies from the students’ copies, that causes a
chronological problem.
Since it has inspired the editors later on, such as Dotzauer and Dörffel, the idea of
giving the manuscript to a library (Königliche Bibliothek) for an effortless access was an
honorable act which happened in 1889, many years after the copy was completed. Kellner’s
manuscript was regarded as a supporting evidence in cases of doubt.40
Another piece of information worthy of elaboration which was mentioned above is
that Kellner named the Suiten as Suonaten, a term that has been surfaced in 18th Century.
Besides, he mentioned the instrument as a Viola de Basso, which none of the other
manuscripts did. Nonetheless, the gamba is tuned in thirds and fourths and the tuning causes
the impractical performance of the Suites.
40 Johann Sebastian Bach, Six Suites for Solo Cello, Ed. George Pratt, Stainer & Bell, 1979, p.3, quoted from Szabo, 2016, p. 58.
14
Figure 2: Cover page of Johann Peter Kellner’s manuscript41
41 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, Source B, cover page.
15
3.3 Johann Christoph Westphal’s Manuscript Source C: SUITEN UND PRELUDIEN FÜR DAS VIOLONCELLO VON JOH. SEB. BACH.
Staatsbibliothek zu Berlin – Peussischer Kulturbesitz, Mus. ms. Bach P 289.42
Johann Christoph Westphal (1727-1799), an organist from Hamburg, a press owner
and collector, created the third manuscript of the Cello Suites. The copy was unknown until
1830, and it dates as far back as second half of 18th Century.
The manuscript is the first one to be written not only by one but two copyists. The
strong evidences support the belief:
“The first of them was an experienced Bach-scribe, a member of Johann Philipp Kirnberger’s circle (Kirnberger had in turn, been a member of Kellner’s circle), and was active in Berlin. Several of his (or her) other copies are to be found in the Amalienbibliothek in Berlin and although for a long time this scribe was identified by scholars as ‘Anonymous 402’, recent research has revealed slightly more: he went by the name of Schober.43 For reasons unknown, he abruptly stopped his work halfway through the Bourrée I of the C major Suite, at bar 12. The change in handwriting is clearly noticeable here, marking the place where the second, completely unknown copyist took over.”44
Figure 3: Cello Suite in C Major, Bourrée I, bars 1-19, Westphal’s manuscript45
42 Ibid, p. 5. 43 Zoltan Szabo has used here a footnote: https://www.bach-digital.de/receive/BachDigitalSource_source_00001281 (accessed on 6 September 2019) 44 Szabo, 2016, p. 48. 45 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 16.
16
Ulrich Leisinger, editor of the Wiener Urtext Edition, claims from the way the F key
signatures are written that the second copyist is more likely to be from Hamburg area.46
3.4 Johann Traeg’s Manuscript Source D: 6 SUITE A VIOLONCELLO SOLO. DEL SIGL: JOH: SEB: BACH. Österreichische
Nationalbibliothek Wien, Mus. Hs. 5007.
This copy was put up for sale along with some other compositions of Bach by Johann
Traeg in Vienna in 1799. The paper and the notation display that the copy dates to the end of
18th Century and suggested that the source originates from northern or central Germany.
Figure 4: Cover page of Anonymous manuscript47
46 Johann Sebastian Bach, Suiten für Violoncello Solo, BWV 1007-1012, Commentary, Ed. Ulrich Leisinger, Wiener Urtext Edition, Vienna, 2000, p. 5. 47 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, Source D, cover page.
17
3.5 Chez Janet Cotelle’s Edition Source E: SIX SONATES OU ETUDES POUR LE VIOLONCELLE SOLO COMPOSEES PAR J.
SEBASTIEN BACH. OEUVRE POSTHUME. PRIX 12.F A PARIS, CHEZ JANET ET COTELLE. (Nr.
1497)48
The final copy is different than the other manuscripts in a particular condition; it is the
first printed edition of the Cello Suites. The first print was published in France and most likely
just a few copies were made. The only known model can be found today in Statens
Musikbibliothek, Stockholm. Jeffery Solow notes in his quote; “Source E may clarify
questionable notes and rhythms and is based on a lost exemplar, perhaps belonging to C.P.E.
Bach, the second son of the great composer.”49
Figure 5: Cover Page of Cotelle’s edition50
48 Ibid, p. 5. 49 Jeffery Solow, Paper Chase: Bach Cello Suites – The Critical Editions, Strings 16, April, 2002, pp. 70-75. 50 Textband, Ed. Schwemer, Woodfull-Harris, 2006, Source E, cover page.
18
4. The Similarities and Differences Between the Five Main Sources
The five manuscripts, that are considered as the main sources are the role models of any
created interpretation following. They are similar in some senses but also very contrasting,
too. After the detailed summary of each manuscript, a general information of their common
points and opposite edges have to be laid out. The purpose of this chapter is to discover the
similarities and differences of the primary sources of the Cello Suites.
Source A and B are not to be compared considering that they both have significant
characters, but the Sources C and D show great resemblance to each other. With a closer
inspection, it is seen that same errors appear in both manuscripts. Besides the errors, their
text is almost identical to each other. But their page and line differences verify that Source D,
the younger one, is not copied from Source C, the earlier one.
However, Source E, the first printed edition, does not bear any resemblance to the
manuscripts, thus making it unique. Obviously, Cotelle’s copy included many adjustments and
specifications; in other words, it had far more details than any other manuscript, which led to
its influence on the future editions. Another unique feature is that Source E is the first edition
which has tempo (etc. Allegro, Largo), and dynamic marks, as well as fingerings.
Figure 6: Suite in E flat Major, Prélude, bar 1, Cotelle’s edition51
As Source B, Source E also names the Suites as Sonatas or Etudes on the cover page.
Also, the movement captions of Bourrée I and Bourrée II in Suite III and IV are noted as Loure
I and Loure II.
As the persisting search of the relationship between the five manuscripts proceeds,
the question that needs to be asked is based on what they should be identified. The claim is
that the errors appearing in Source C, D, and E are not developed in Source A and B in the
51 Ibid, Source E.
19
same direction, that can be an evidence to divide the manuscripts to two main categories. The
Sources C, D and E can be grouped together, in the sense of them being probably copied from
the same source. Hereby, there are three main categories based on the origins:
I. Source A
II. Source B
III. Source C, D and E
Remarkably, Category III shows more resemblance to Source A, than to Source B. Yet,
it cannot be inferred that these three sources are copied from Source A. Despite their familiar
similarity, it is commonly believed that they are copied from an unknown manuscript.52
The lack of one single trustworthy the autograph caused consequences. All the
manuscript should be taken into account due to major differences in the notes and rhythms,
and such markings as legatos, articulation marks, dynamics and trills.
In the following chapter, the probability of one of them being the actual copy of the
lost original manuscript, while the other four manuscripts hold errors and inconsistencies is
being discussed. The fifth principal manuscript, the first printed source, will be excluded
because of the late appearance with extreme editing unlike the other four authentic
manuscripts.
“That leaves us with three possibilities:
I. The principal sources transmit different stages of the compositional process (drafts,
fine copies etc.).
II. They are not mere copies following their model faithfully but include a significant
number of scribal amendments. These amendments can be unintentional and consist of
errors, or intentional when interpretational suggestions are added by the copyists, perhaps
based on advice from early performers.
III. The third possibility is a mixture of the first two and it is the most likely. Since no
authorial script of the Suites survives, this investigation faces a particularly challenging
situation: instead of starting from some solid, well established ground, its foundation is based
on careful scrutiny of the sources and on educated guesses.”53
52 Ibid, p. 8. 53 Szabo, 2016, p. 55.
20
The lack of a certain Ur-text (original text) as well as the subject being over 200 – year
old, has led to many different perspectives and subsequences ever since. Some editors and
editions created a blend of the four main manuscripts, others wanted to stick to one single
manuscript. However, some others still, studied their own musical aspect and approach and
expressed the ideas through transcription, which did not exist till Bach.
The only known source in the beginning of 19th Century was Johann Peter Kellner’s
manuscript (if not, a copy of it). So, judging by the rhythms and note, Friedrich Dotzauer’s
recent edition (1826), could have been copied from Kellner’s manuscript. Despite the
similarities of Dotzauer and Kellner editions, it is unknown whether Dotzauer had access to
Kellner’s copy though. However, there was a lack of other known sources for the Suites until
Dotzauer’s Edition.
Subsequently, a huge step was made by the publication of the Cello Suites by Alfred
Dörffel (1821-1905), who came across Anna Magdalena’s manuscript of the Cello Suites in
Berlin Königliche Bibliothek. Her copy had been available to anyone from 1841 on. Needless
to say, it was not known by the editors and editions until then. Dörffel named copies of Anna
Magdalena, Kellner and Dotzauer as his sources.54 This new edition by Dörffel represented a
new aspect with the recently discovered source of Anna Magdalena, whose legatos and other
markings inspired following editors to copy them.
Since Anna Magdalena copied also the Violin Partitas and Sonatas, which are already
available by Bach himself, the similarities of two manuscripts would help to define the
decentness and trustworthiness of her copying skills.
However, it does not mean that her copy is the most reliable due to the following
reasons. For example, her lack of the legato lines contrasts from the continual clarity of J.S.
Bach’s slurs, as shown below.
54 J. S. Bach, 6 Suiten für Violoncello in: J. S. Bachs Kammermusik, Sechster Band, Solowerke für Violine, Solowerke für Violoncello, Bd XXVII/1, Bach Gesellschaft Ausgabe, Ed. Alfred Dörffel, Leipzig, Breitkopf & Härtel, 1879, quoted from Szabo, 2016, p. 132.
21
Figure 7: G minor Sonata for Solo Violin BWV 1001, Presto
Bar number 25-30
Johann Sebastian Bach’s Autograph Anna Magdalena’s Copy55
Moreover, Anna Magdalena has made very few indications on the text, including very
little number of trills and appoggiaturas in Allemande of Suite I, Courante and Allemande of
Suite V. Given her minimalist approach as a copyist, she did not put any dynamic marks to the
manuscript either.56
Figure 8: Suite in G Major, Allemande, bar 12, A.M.Bach’s manuscript
Figure 9: Suite in c minor, Courante, bar 23, A.M.Bach’s manuscript
55 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 6. 56 Except the echo effects in the Prélude of Suite VI.
22
Figure 10: Suite in c minor, Allemande, bar 7, A.M.Bach’s manuscript57
Another reason why her manuscript was not considered as a fully reliable source is the
pitch and rhythmical mistakes. It is due to these mistakes that the other editors tried to fill in
the gaps and unclarities in order to create an optimal edition. It is unexpected for her to make
this many errors given her close relationship to Bach himself. It is frustrating that her copy is
not just as Bach intended to be, considering that she had unlimited opportunities to do a
research on his works.
However, Anna Magdalena is not the only sloppy copyist. Kellner’s copy has a higher
number of errors. To name a few; wrong notes and different rhythms than Anna Magdalena’s
copy. What is not certain is if the errors appearing on Kellner’s version are accidentally made
by Kellner himself or based on model that had already existed. (Source X)
What stands out in Kellner’s manuscript is that he copied only the first nine bars of the
Gigue of Suite V. Needless to say, he has not copied the Sarabande – disregarding the
possibility that it has been lost.58
Figure 11: Suite in c minor, Gigue, first nine bars, Kellner’s manuscript59
Another exceptional point in Kellner’s manuscript is that he avoided the scordatura
and wrote the whole Suite V at the sounding pitch, what caused many pitch errors.
Meanwhile, the errors prove that he copied from a model that was already written in
57 Figure 8, 9 & 10: Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, Source A. 58 Ibid, Source B. 59 Ibid. Source B.
23
scordatura. The idea behind writing a sounding pitch copy can be to sustain his own
compositional aim.
Yet, there was a constant to find a trustworthy source that does not cause any
critization among the editors and editions. In spite of the fact that, Anna Magdalena’s copy is
far from perfect, it is still regarded as the main source, as well as the most authentic one of all
the existing manuscripts. The manuscript source is mentioned by Egon Voss, the editor of
Henle Publication Urtext Edition of Cello Suites, on its preface as: “… the sole source capable
of serving as the basis of an urtext [sic] edition is A, notwithstanding all its shortcomings. […]
In sum, the basis of our edition is A, the copy written out by Anna Magdalena Bach.”60
Moreover, this was later supported by one of the editions that has the largest fame in music
publishing, Bärenreiter: “There can be no question that [Anna Magdalena Bach’s manuscript]
is the principal source for the cello suites, if only because of its copyist’s close temporal and
physical proximity to the composer.”61
The ultimate question at this point to be asked is – what text do they transfer? As
pointed out before, the manuscripts could have been created by using various versions of the
autograph, or a reproduced copy of the original by Bach himself. Finally, the probability of
other fundamental material sources, that might have been used, have to be considered.
The sources can be classified as primary and secondary sources. The primary sources
refer to the original way Bach intended his Suites to be played or his own written copy of the
work if there was any. Since these are not in existence, secondary sources which are the five
main sources written by others can be found and discussed on whether they depict the work
well. As mentioned in the previous chapter, even the most exact edition can be as trustworthy
as its source. The survived editions could be straightly shaped by primary of secondary
sources.
The main and secondary sources could be differentiated from one another by the
examining the errors. Pointing out the errors that are identical among the sources can improve
to form a connection between them. To put it in a different way, the more manuscripts there
60 “[…] Grundlage einer Urtextedition kann einzig und allein die Quelle A sein, trotz aller Unzulänglichkeit, die ihr im übrigen anhaftet. […] Grundlage der vorliegenden Ausgabe ist also A, die Abschrift von der Hand Anna Magdalena Bachs.” translated by Egon Voss, quoted from Johann Sebastian Bach, Six Suites for Violoncello Solo BWV 1007-1012, Ed. Egon Voss & Ginzel Reiner, Preface, München, Henle, 2007, p. 9. 61 “Ohne Zweifel ist A allein schon wegen der großen zeitlichen und räumlichen Nähe der Schreiberin zum Komponisten als Hauptquelle der Cellosuiten anzusehen.”, translated by Schwemer, Woodfull-Harris, quoted from, Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 6.
24
are with the same errors, the higher the possibility of relation in terms of origin. As expected,
this method of comparing the mistakes, has its own challenge, since the source could be a
combination of different primary sources itself. Due to this uncertainty, this method might
not lead to concrete result. But it might help guide us through the progression of the
manuscripts.
5. Articulation Interpretations of the Main Sources
For the experts and a majority of musicians, one of the main aspects to determine the loyalty
level of a manuscript was the matters of articulation. Compared to the great works Bach has
composed, the Cello Suites, like the Violin Sonatas and Partitas for Unaccompanied Violin, are
heavily indicated, at least when their bowing is being concerned. As a consequence,
performers must consciously create the music by being aware of the articulation changes.62
There is no doubt that there is an extraordinary number of diverse articulation
markings and bowings between the four manuscripts. Obviously, just with a simple glance at
the first bar of Prélude of the G Major Suite, it can be noticed that all four sources have entirely
different articulations.
Figure 12: Prélude of the G Major Suite, Figure 13: Prélude of the G Major Suite, bar 1, Anna Magdalena’s manuscript bar 1, J.P.Kellner’s manuscript
Figure 14: Prélude of G Major Suite, Figure 15: Prélude of the G Major Suite, bar 1, Westphal’s manuscript bar 1, Traeg’s manuscript63
62 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 21. 63 Figure 12, 13, 14 & 15: Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, Source A, B, C & D.
25
Considering that string instruments are capable of making articulated sounds, by
making use of bowings and shifts, along with other techniques, it is mostly the terms legato
and staccato which help create the expression, rhythmical stability and musical line. Whereas,
the slurs and the other articulation marks give the player a direction to customize and
construct the music.
Leopold Mozart explained the huge diversity of articulation on string instruments in
his following statement: “That bowing can greatly vary a phrase we have already become in
some measure aware in previous chapter will convince us entirely that the bowing gives life
to notes; that it produces now a modest, now an impertinent, now a serious or playful tone;
now coaxing, or grave and sublime; now a sad or merry melody; and is therefore the medium
by the reasonable use of which we are able to rouse in the hearers the aforesaid affects.”64
This is a very much like the approach from C.P.E. Bach: “In general the briskness of
allegros is expressed by detached notes and the tenderness of adagios by board, slurred
notes.”65
Many performers struggle of following the indicated bowings by the copyists, as well
as facing the problems of the early sources, being difficult to read because of the fact that
only the first of the parallel (repeated) passages had bowings and articulation markings. So, it
is mainly up to the performer to figure out and apply the upcoming articulation, as Leopold
Mozart mentions: “Many composers put such signs commonly against the first bar only, when
many similar notes follow. One must then continue with them until a change is indicated.”66
64 “Daß der Bogenstrich alles unterscheide, haben wir schon in dem vorhergehenden Hauptstücke in etwas eingesehen. Das gegenwärtige wird uns gänzlich überzeugen, daß der Bogenstrich die Noten belebe; daß er bald eine ganz modeste, bald eine freche, bald eine ernsthafte, bald eine scherzhafte, itzt eine schmeichelnde, itzt eine gesetzte und erhabene, itzt eine traurige itzt aber eine lustige Melodie hervorbringe, und folglich dasjenige Mittelding sey, durch dessen vernünftigen Gebrauch wir die erst angezeigten Affecten bey den Zuhörern zu erregen in den Stand gesetzet werden.” Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing, Ed. II, Oxford – New York, 1985, p. 114, translated by Editha Knocker, quoted from Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 20. 65 “Die Lebhaftigkeit des Allegro wird gemeiniglich zu gestossenen Noten und das Zärtliche des Adagio in getragenen und geschleiften Noten vorgestellt.” Carl Philipp Emmanuel Bach, Essay on the True Art of Playing Keyboard Instruments, London, 1974, p.149, translated by William J. Mitchell, quoted from Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 20. 66 Leopold Mozart, 1985, p.102, translated by Editha Knocker, quoted from Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 21.
26
5.1 A Brief Information on Baroque Playing, Bow and String Instruments
The twentieth-century playing habits and interpretations are mostly based on the modern
instrument and in order to explain the articulation marks and contrasts on main four
manuscripts, baroque instrument qualities must be reviewed to start with. A corresponding
quote by Jaap Schröder explains as: “A modern string instrument player who picks up a
baroque instrument and bow for the first time, it is very likely that he will feel discouraged.
The muscular energy and wide gestures that he or she is applying are entirely inappropriate
and must be drastically reined in. This initial reaction may lead to the erroneous impression
that baroque instruments have to be played prudently.”67 In accordance to this, one can come
to the conclusion that Bach’s music does not need a big sound in standards of the modern
ability, as the baroque instruments confirm.
Firstly, when it comes to the bow holding technique, the baroque bow was unusual in
comparison to the present bow which is being used currently. The tension level of a pre-Tourte
bow and a modern bow are completely different which can be heard from their distinctive
harmonic character. The tension caused by the bow stick was not stiff enough to play with a
forced sound, but rather the opposite. The smoothness of the bow was much natural than
today’s model. On the other hand, the start of each stroke was more prease than modern
bow.68 Leopold Mozart comments on the bow stroke as: “Every note, even the strongest
attack, has a small even if barely audible, softness at the beginning of the stroke; for it would
otherwise be no tone but only an unpleasant and unintelligible noise. This same softness must
be heard also at the end of each stroke. Hence one must know how to divide the bow into
weakness and strength, and therefore how by means of pressure and relaxation, to produce
the notes beautifully and touchingly.”69
As Leopold Mozart mentioned, the softness of the sound should remain on every bow
change, start in a delicate way, followed by a crescendo and a coming diminuendo until the
67 Jaap Schröder, Bach’s Solo Violin Works: A Performer’s Guide, New Haven - London, Yale University Press, 2007, p. 8. 68 John Butt, Bach Interpretation: Articulation Marks in Primary Sources of J.S. Bach, Cambridge, Cambridge University Press, 1990, p. 41. 69 “Jeder auch auf das stärkeste ergriffene Ton hat eine kleine obwohl kaum merkliche Schwäche vor sich; sonst würde es kein Ton, sondern nur ein unangenehmer und unverständlicher Laut seyn. Eben diese Schwäche ist an dem Ende iedes Tones zu hören. Man muß also den Geigenbogen in das Schwache und Starke abzutheilen, und folglich durch Nachdruck und Mässigung die Töne schön und rührend vorzutragen wissen.” Leopold Mozart, 1985, p. 97, translated by Editha Knocker, quoted from Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 21.
27
end of the bow. In moving passages, the notes are separately articulated and intentionally
disconnected, unlike the legato bow that is used nowadays.
A noteworthy fact about the baroque bow is the down bow technique. The method
can be formulated as the rule of emphasized notes are played with a down bow, whereas the
weak notes are played with an up bow. The down bow method was commonly practiced in
France and Italy in 18th Century, which influenced the German music likewise.
Basically, we can assume this down bow technique existed in the period when Bach
composed the Cello Suites. Although, there is no real evidence that he composed the Suites
in such expectation that the rule should be followed strictly. The only clue to stick to might be
that he was influenced by the Italian style of composing. Therefore, it is truly reasonable to
apply this technique to Bach’s music.
The baroque standard of sophisticated articulation and transparent sound, which was
still widely common in classical era, transformed into color motifs in the romantic era and
thereby, heavier bows were constructed. The string instrument technique required longer
lines and bowings in order to create clear articulation starting from romantic era on and as
seen from the string section of the orchestras, they are much larger and louder as a result of
symphonic music getting attention in comparison to baroque era. The modern symphony
orchestras are shaped with the late-romantic conceptions and the sound construction
continue to get extremely powerful.
Bowings for the cello correspond to those for the violin. In comparison to the cello
playing those days, as well as the violin school overall, have the inclination to play the
accented beats with a down and the soft sounding notes with an up bow.70
Besides the baroque instruments and bows themselves, the bow holding, and right-
hand position are essential to master in order to perfect the slurs and legatos of the
manuscripts. Schröder makes a comment on the relevance between the slurs and bowings: “I
am convinced that Bach’s written slurs are really bowing marks. Practicing slow bow strokes
and choosing fluent tempos can solve every seemingly difficult problem.”71
70 Hans Theodore David, J.S. Bach’s Musical Offering: History, Interpretation, and Analysis, New York, G. Schirmer Inc., 1945, p. 68. 71 Schröder, 2007, p. 8.
28
After all, there has been a tradition to take up the early music methods again, meaning
the search for the transparent color of the baroque instruments has begun. The appreciation
towards early music, as well as the enthusiasm to learn more about it has peaked.
5.2 Legatos and Slurs Importance of legatos and slurs, still is an argument for the critics and performers to this day.
The legatos, certainly an enormous part of the text, shape the phrases and expressions. The
notes bounded as a group by a slur lead the performer to play them on a single bow.
As a comparison, the ‘Detailed Notes’ of the 2000 Wiener Urtext edition identify not
less than four hundred discrepancies between Sources A, B, C, D and E and a large number of
them refer to divergent articulation markings.72
The slurring complications of the manuscripts such as inconsistencies result in a
complex situation. For instance, in the Source A, inconsistencies are frequently found. Due to
the fact that Anna Magdalena was a singer, not a string instrumentalist, she most likely lacked
certain string instrument principles. The irregularities on legatos and other similar errors could
be also encountered in her version of the Violin Sonatas. Nevertheless, the critics were still
debating on her bowings and articulation marks even though they could not be trusted as they
did not work. Usually her slurs are either too long or too short, and too horizonal to
understand where the slurs start and end. Furthermore, most of the slurs are skipped in
repetitions. Curiously, even new bowings and slurs are added by Anna Magdalena in some of
the repeating sections. To summarize, her slurs are too difficult to read and analyze as clearly
seen on the figure above. On the contrary to his wife who didn’t show much attention to the
articulation marks, Johann Sebastian Bach, usually writes the slurs attentively identical no
matter how many times it repeats according to the findings left of him.73
Nonetheless, the articulation written by Kellner is much more complicated than Anna
Magdalena’s in terms of slurs and legatos. Even if they both contain articulation errors, in
Kellner’s copy the slurs and their placement are even more confusing. Moreover, Kellner was
not very concerned with the articulation that is easily seen by his lack of consistency.
72 Szabo, 2016, p. 65. 73 Ibid, p. 6.
29
Figure 16: Suite in C Major, Allemande, bars, 1-2, Anna Magdalena’s manuscript74
Figure 17: Suite in C Major, Allemande, bars 1-2, Kellner’s manuscript75
To continue with, the disagreement of the slurs and articulation issues between the
four earliest manuscripts, gave the confident to the later editions to interpret in a matter of
extensive freedom.
The word slurring is meant as bowing, that is for string instruments a physical
movement, when it specifies only the articulation for keyboard and wind instruments. The
statistics of the unreliable articulation markings reduce the expectations on the four
manuscripts in term of articulation.
Source C gives the impression that it is the most compatible of all manuscripts in sense
of articulation, since the slurs and their position are the most convenient of other four sources.
Nevertheless, specifically the section transcribed by the second copyist consists carelessness
in its bowing and legatos. In contrast with any other manuscript, Source D is the least careful
and dependable about the articulation marks.
Continuing with a comment from Nelson Goodman, “whose observance affects the
quality of the performance but not the identity of the work”76, articulation symbols are
supplements that guide the performers as instructions. A slur or bowing that is displaced
might reshape the interpretation but is usually not recognizable by a large percentage of the
74 Ibid, Source A. 75 Ibid, Source B. 76 Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, Ed II, Indianapolis, Hackett, 1976, p. 117.
30
listeners. Occasions of further pitches or rhythm is mostly clear to the trained ears; less found
in the public but less crucial they are not.
The forthcoming advice on the questionable slurs in manuscripts is explained in the
following quote by the editors of Bärenreiter Edition (2006) as: “The only clearly formulated
rule is that notes close together should be slurred while larger intervals should be detached.
Beyond that, there are no hard and fast rules. The decision of when to use legatos is left to
the taste of the player and must be based on the character and tempo of the piece
concerned.”77
The string playing study of performance relates exactly to playing technique and the
slurs are most likely added for the advantage of the player, but not for interpretative reasons.
Accordingly, Bach’s instrumental parts of his compositions consist of much more articulation
marks than his vocal parts. Is the reason of such precise directions that he could not trust on
his performers’ technique and knowledge, or because he assumed the performance to be
essential to the musical style of each work? The lack of information of the performances
during his life period causes the relationships between composer, performer and the work
copies are only to be opinions.
The performers of that time were apparently oral trained, in addition to the
contemporary string playing education. This was the time that performers needed definite
instructions.78
77 “Die einzige deutlich formulierte Regel besteht darin, nahe beeinanderliegende Töne zu binden, größere Intervalle abzusetzen. Darüber hinaus werden keine konkreten Regeln aufgestellt; die Entscheidung, wann ein Bindebogen gespielt werden soll, ist dem Geschmack des Spielers anheim gestellt; unter Berücksichtung von Charakter und Tempo des jeweiligen Musikstückes soll er selbst entscheiden.” translated by Schwemer, Woodfull-Harris, quoted fromText Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 26. 78 Butt, 1990, p. 35.
31
5.3 Staccato Staccato, is an Italian word that is translated to English by Cambridge Dictionary today as:
“used to describe musical notes that are short and separate when played.”79 The purpose of
staccato effect is creating crusty sound that is formed by the seperation of the notes. Another
term, spiccato was used instead of it in the 18th Century. Both terms referred to the sound
which is produced by the light baroque bow itself. So, neither meant bouncing the bow, like
it is being attributed to today. Due to the construction of the bow, the staccato back then was
not as crispy as it is in present time as a result of the considerably heavier modern bow.
Tones to be played staccato were pointed with dots or strokes on them. The strokes
meant a clearer and intense sound than a dot effect, explained by Quantz in the following
paragraph: “For just as a distinction is to be made between strokes and dots without slurs
above them, that is, the notes with strokes must be played with completely detached strokes,
and those with dots simply with short strokes and in a sustained manner, so a similar
distinction is required when there are slurs above the notes. Strokes, however, appear more
often in the Allegro than Adagio.”80
Staccato playing technique also differs with the various tempos. When playing staccato
in slower tempos, the bow should stay on the string. Only when the tempo gets faster in any
movement, the bow could be detached from the string. This rule was also applied to
appoggiaturas in baroque time.81
As it is not very easy to differenciate the dots from the strokes in manuscripts, it should
inspected closely. For example, on the figure below, staccato markings are shown in Kellner’s
version of Allemande of Suite IV. It is not known if they are meant to be dots or strokes.
79 Cambridge Dictionary, https://dictionary.cambridge.org/dictionary/english/staccato (accessed on 18.11.2019) 80 “Denn, wie zwischen den Strichen und Puncten, wenn auch kein Bıgen darüber steht, ein Unterschied zu machen ist: daß nämlich die Noten mit den Strichen abgesetzt; die mit den Puncten aber, nur mit einem kurzen Bogenstriche, und unterhalten gespielt werden müssen: so wird auch ein gleicher Unterschied erfordert, wenn Bogen drüber stehen. Die Striche aber kommen mehr im Allegro als im Adagio vor.” Johann Joachim Quantz, On Playing the Flut, Complete Translation by Edward R. Reilly, New York, 1966, p. 193, translated by Schwemer, Woodfull-Harris, quoted from, Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 23. 81 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 23.
32
Figure 20: Suite in E flat Major, Allemande, bar 38, Kellner’s manuscript82
The frequency of the usage of staccato markings among the copyists varies greatly.
Firstly, Anna Magdalena wrote the fewest staccatos. Secondly, Kellner wrote also very few
staccatos although it was still more often than Anna Magdalena. Finally, the other three main
sources have a large number of passages that calls for staccato. Below are the staccato
passages taken from the first two bars from the Gigue of Suite I.
Figure 18: Suite in G Major, Gigue, Figure 19: Suite in G Major, Gigue,
bars 1-2, Anna Magdalena’s manuscript83 bars 1-2, Kellner’s manuscript84
No matter what the quantity of the staccato markings is, it can be said that the
movement Gigue requires the most amount of staccato owing to its lively and fast
characteristic in all main sources. So in case of the need for a further inspection of dots and
strokes, a look at the Gigue would suffice to find out more about any given source.
Last but not least, below is the comparison of the Source C and D in terms of dots and
strokes. It is still highly possible that the differences pointed out below could be based on the
handwriting of the copyists.
82 Ibid, Source B. 83 Ibid, Source A. 84 Ibid, Source B.
33
Figure 21: Suite in G Major, Allemande, Figure 22: Suite in G Major, Allemande
bar 5, Source C, stroke example bar 5, Source D, stroke example85
Figure 23: Suite in D Major, Gigue, Figure 24: Suite in D Major, Gigue,
bar 29, Source C bar 29, Source D86
6. Style Interpretations of Manuscripts
Admittingly, the idea of style is a present argument of any composer’s music, but rarely the
term itself is taken into account because of the fact that style comes from within and it is not
something that is integrating later. It is a valuable analytical concept, when it indicates the
features of additional ideas and expressing a genre. The ability to perform and express
something noticeable through the style of genre, period, texture, notation, composer’s
background and instrument itself, all of which cooperate to describe the styles of any given
composer, is of significance. There are some clues from which we can tell which style a piece
of music should be played, such as: form, enviroment in which the music was performed and
most importantly its origin. To name a few: the sonata style, baroque style, French style,
church style or organ style, apart from the composers’ styles, specifically Handel’s,
Telemann’s, or Bach’s style. There is a critical contrast between the historical and
contemporary usage of the term. It was traditionally refered to a common manner of the
genres that were considered while composing. To put it in other words: conventional
85 Figure 21 & 22: Ibid, Source C and D. 86 Figure 23 & 24: Ibid, Source C and D.
34
demanding belief attributed to a corresponding value to styles. Each passage should be
treated as it suits its identical style and character.87
Moreover, Leopold Mozart remarks on the interpretation of style as: “… a good
orchestral violinist must have great insight into the whole art of musical composition and into
the variety of characters.”88 He implies a very strategic idea that a performer’s awareness of
the style of the composition is of an absolute value.
Particularly in Bach’s style, the music Bach composed, is there anything not stylistic?
In Bach’s day, style had various meanings, however, Bach describes it as: “former style of
music”, that “no longer seems to please our ears.”89
However, Bach’s instrumental works cause a conflict on stylistic ideas among critics
and performers. Because of the fact that is that Bach was aware of various musical kinds and
instruments that he intentionally composed for, which has to be considered by critics who
have a perspective of demanding a standard consistency. A good example is the well-known
Minuet in G found in the notebook for Anna Magdalena Bach, which was identified in the
1970s as a work by Christian Petzoldt, a Dresden contemporary of Bach’s.90 The interesting
fact of the piece, is that Bach possibly delivered to Anna Magdalena from Dresden as an
illustration of most recent fashion in keyboard music, that is seen in its melodic direction and
danceable materials. Wherefore, it can be said that the Minuet itself is an elegant model of a
menuet without making effort to criticize its genre.91
6.1 The Importance of Articulation at Interpretation of Styles
The style term, as mentioned before, has numerous sorts, but in order to focus on the style of
Cello Suites, mostly the motivic designs in dance movements and individual form (to example,
Minutes are in two sections with four-bar phrases) have to be taken into consideration.
Occasionally, the character of a specific dance might dominate the rhythmic construction of
87 David, 1945, pp. 60-61. 88 “[…] ein guter Orchestergeiger aber muß viele Einsicht in die ganze Musik, in die Setzkunst und die Verschiedenheit der Charakters […] haben […]” Leopold Mozart, 1756, p. 254, translated by Butt, quoted from, Butt, 1990, p. 37. 89 Laurence Dreyfus, Bach and the Patterns of Invention, Cambridge, Harvard University Press, 2004, p. 189. 90 “The piece is now referred to as Schmieder Anh. II 114/Anh. III 183. See Hans-Joachim Schulze, “Ein ‘Dresdner Menuett’ im zweiten Klavierbüchlein der Anna Magdalena Bach” in BJ (1979), pp. 44-64, quoted from, Dreyfus, 2004, p. 193. 91 Ibid, p. 193.
35
the movement. Here, the articulation marks support or establish a precise effect on notes.
Therefore, it is important to point out a specific effect in a movement: for instance, can be
designed as a colorful rhythmic bowing or one slur of an expressive phrasing, the articulation
marks build particular motifs in the musical structure.
Figure 25: Partita for Solo Violin in B minor, BWV 1002, Corante, Mus. MS P 96792
As seen on Figure 25, Bach precisely put the slurs, according to their placement in the
rhythmic, fitting in the harmonic and melodic structure. These notation effects provide a clear
evidence that Bach expressed his own interpretation and even analysis to his own music.
Thereby, Bach is limiting the performer’s freedom in articulation and style through articulation
by adding his own slurs. The most advantageous way to create an idea of style could be to
collect information about Bach’s music by looking at the other compositions of him.
At this point of exploring stylistic interpretation, what has to be taken into account is
there is the intense connection between the style and articulation, as mentioned throughout
the thesis, the articulation marks and slurs play a huge role for string instrument playing, as
well as composing for them. The placement of both articulation marks and slurs in the
notation is the proof of the composing skills. Not to mention, it has further influences on the
flow of the music.
92 Figure 25: Butt, 1990, p. 201.
36
To summerize, the slurs and articulation marks have been required and appreciated by
the musicians and performers to construct a performance style all throughout the years till
today. Finally, every single detail or marking on the notation could be regarded as Bach’s
interpretation of his own music, rather than plainly as the technical and informative means to
play it.
6.2 Tempo and Dynamics
Beside the slurs, a huge part of style interpretations are shaped by tempos and dynamics even
though they were introduced into the notation at a considerably later date. Evidently, the
later editions have many tempo and dynamic indications on the Cello Suites. In other words,
most reprints are loaded with the additions by the music taste of the editors. Accordingly, it
makes it impossible for the musicians to know whether they follow the interpretation of Bach
himself, or the musical taste of the editors.
The tempos and dynamics are rarely found in Bach’s music. When he really wanted to
indicate the tempo of any given piece, he would add an elaborate phrasing or a detailed
expression.
An exact metrical structure is also necessary for finding the ultimate tempo which is
an essential aspect to consider when it comes to interpretation. For instance, in Source A and
B, Anna Magdalena’s and Kellner’s manuscript, it is clearly seen that they noted a 2/2 time-
signature in Prélude of Suite IV.
Figure 27: Suite in E flat Major, Prélude, Figure 28: Suite in E flat Major, Prélude,
2/2 time-signiture of Source A 2/2 time-signiture of Source B93
93 Figure 27 & 28: Ed. Schwemer, Woodfull-Harris, 2006, Source A & B.
37
However, in the first printed edition, also known as the Source E, it is illustrated as a
4/4 time-signiture, that is accompanied by a tempo marking: Allegro non troppo.94 The
Scholary Critical Performing Edition by Bärenreiter Edition (2000), an educational source which
made use of all the five manuscripts, cited the differences of sources on their scores.
Figure 29: Suite in E flat Major, Prélude, time-signature
The dynamic indications of 17th and late 18th Centuries consisted particularly forte and
piano, since the music was based on the contrasts. The piano was mostly treated as an
indication that causes the echo sound on repetitions of small particles. Bach angeringly, used
the echo effect to his works in cases: for instance, last movement of his Overture in the French
Manner. Likely, in his concertos, at the entrance of a solo instrument or voice, he slightly
marks a piano in the accompanying parts, which is caused by the need to make the solo
instrument sounding. Proper function of dynamic contrasts involves clarifying the
fundamental outline of a composition, so the symmetrical or asymmetrical relations might
form together. The intention of presenting the identical sections or elements with the same
dynamic in any section they appear, while the contrasting passages in style of the genre are
being granted might give the performers an opportunity to reach a varied sound and
contrasting colors.
Nevertheless, the Cello Suites have hardly any dynamic marks, and those marked are
fitting in the category of echo effect mentioned before. As clearly seen on the following
figures, the Prélude of Suite VI, is copied by four manuscripts in the echo effect sense and
fortes and pianos are noted in the traditional manner. Kellner’s manuscript is the only one
that has not the echo effect notated.
94 Can be seen in Figure 6, under the title “The Similarities and Differences Between the Five Main Sources”.
38
Figure 30: Suite in D Major, Prélude, bars 3’-5, Source A
Figure 31: Suite in D Major, Prélude, bars 3-4, Source C
Figure 32: Suite in D Major, Prélude, bars 3-4, Source D
Figure 33: Suite in D Major, Prélude, bars 3-4, Source E95
“The exact expression of the Forte and Piano […] is one of the most essential matters in performance. The alternation of the Piano and Forte is one of the most convenient means both to represent the passions distinctly, and to maintain light and shadow in the execution of music. Many pieces might have better effect upon the listeners than they do, if the Piano and Forte were observed by every player in the proper proportion, and at correct time.”96
95 Figures 30, 31, 32 & 33: Ed. Schwemer, Woodfull-Harris, 2006, Sources A, B, D & E. 96 “Die genaue Ausdrückung des Forte und Piano […], ist eines der nöthigsten Stücke in der Ausführung. Die Abwechselung des Piano und Forte ist eines der bequemsten Mittel, nicht nur die Leidenschaften deutlich vorzustellen; sondern auch Licht und Schatten in der Musik zu unterhalten. Wenn solches in gehörigem Verhältnisse, und zu rechter Zeit, von einem jeden beobachtet würde: so möchte manches Stück bey den
39
In addition to dynamics and tempo, the indication vibrato is mandatory to mention. To
put it roughly, vibrato is a term that is regarded today as exaggeration, in comparison with the
effect of it in 18th Century and was therefore used as an emphasis only in unique passages in
baroque music. To define the caption vibrato, Leopold Mozart treats it like the character of
tremolo and associates it to the natural vibrations of a bell. He dismisses a continuous vibrato
and advises it only on long, accented or final notes of slow movements.97 Finally, an important
note for any cellist performing the Cello Suites is that they should consider that non-vibrato
was a standard in 18th Century. So, vibrato has to be placed only in a limited number of
passages.
7. Fingering Interpretations of Cotelle’s Edition and the Following Editions
Without a doubt, all six Cello Suites require a certain level of technical skills and musical
intelligence. However, Suite VI, requires a higher level of awareness, since it is composed for
a five-string instrument. It is actually not defined in any manuscripts for which instrument the
Suite VI was composed. However, Anna Magdalena gives the information of the tuning at the
beginning of the Prélude, for an instrument “a cinq cordes” tuned as C-G-D-A-E.98 Even if it is
not clear for which instrument the Suite was composed for, what is certain is that the
composition itself leades to a lot of problems in sense of fingering complications, considering
the modern instrument has only four strings. Due to the lack of E string on a modern
violoncello, the fingering suggestions might bring a great benefit for the performers. This
situation can be solved with the use of thumb position, also known for demanding an advance
technique.
None of the four earliest manuscripts suggest fingerings, except for Source E, Cotelle’s
edition. So, with him began the tradition of writing fingerings for the sake of overcoming the
challenging passages. Needless to say, the following editions continued this tradition.
The first two bars of the Prélude of Suite VI are repeating bars. Many of the
manuscripts, as previously mentioned use contrasting dynamics to elevate the interpretation.
On top of that, the editions take it one step further and apply particular fingerings for
Zuhörern eine bessere Wirkung thun, als öfters nicht geschieht.” Quantz, 1752, p.249, translated by Schwemer, Woodfull-Harris, quoted from, Ed. Schwemer, Woodfull-Harris, 2006, p. 41. 97 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, p. 38. 98 Ibid, p. 16.
40
additional help. Since, it is impractical to examine every existing edition, Cotelle’s manuscript
and two additional editions, Dotzauer (1826)99 and Wenzinger (1950)100 are being considered
as conflicting editions in this chapter.
Figure 34: Suite in D Major, Prélude, bars 1-2, Dotzauer’s Edition101
Dotzauer starts the Prélude with a fourth finger. Until the very last note of the bar,
which is a “d” with a 3 marked on top, no other fingering suggestions are given. Therefore, It
is not properly clarified, if the note should be played on the A String, or as a harmonic on D
String. In the case it is meant to be played as a harmonic on D String, the performance mark
“o“ should have been noted down. However, if the case is the opposite, it creates a technical
difficulty consisting of a whole-tone between the third and fourth finger. Whitcomb advises
that performers should prefer not to play only one note in one position.102
Figure 35: Suite in D Major, Prélude, bar 1-2, Cotelle’s edition103
99 Johann Sebastian Bach, Six Solos ou Etudes pour le Violoncelle, Ed. Friedrich Dotzatuer, Breitkopf & Härtel, 1826. 100 Johann Sebastian Bach, Sechs Suiten für Violoncello Solo BWV 1007-1012, Ed. August Wenzinger, Bärenreiter Kassel, 1950, 27th Print (2011). 101 Johann Sebastian Bach, Six Solos ou Etudes pour le Violoncelle, Ed. Friedrich Dotzatuer, Breitkopf & Härtel, 1826, https://imslp.org/wiki/6_Cello_Suites%2C_BWV_1007-1012_(Bach%2C_Johann_Sebastian) (accessed on 28.11.2019) 102 Benjamin Whitcomb, Strings 101: Music & Musicians – World of Possibilities: Learn to Devise the Best Cello Fingerings, quoted from, Alexandra Claire Partridge, Fingering Strategies in the Prelude of J.S. Bach’s Sixth Suite for Violoncello Solo, New Zealand School of Music, 2014, p. 7. 103 Text Volume, Ed. Schwemer, Woodfull-Harris, 2006, Source E.
41
Also, as seen on Figure 35, Cotelle’s source suggests the same fingering as Dotzauer.
The only difference between them is, that Cotelle carries the fingering suggestions further to
the second bar. He obviously asks for a resonating sound and considerable capacity of sound
for both bars.
Figure 35: Suite in D Major, Prélude, bars 1-2, Wenzinger’s Edition104
Unlike Dotzauer’s and Cotelle’s editions, the feature of Wenzinger is to alternate the
fingering motif on the second bar. Despite the fact that he is recommending the typical
suggestion coming from most of the editions, with the pedal note being played on open D
String, he still augments by adding fingerings that constructs a natural dynamic change. The
first note is supposed to be played with the forth finger, that directs the performer to play the
sixth note on D String and the following A on open A String. However, the second time as seen
in bar two, first note is suggested to be played with the first finger, with expectation for the
sixth note to be played on G String and the following A on D String, instead of an open A String.
The resonance of the instrument, depending on the fingering suggested in first bar, naturally
builds a louder sound and the interpretation of itself in second bar, simply causes a muted
sound. The echo effect mentioned before is practiced by Wenzinger, using the fingering
interpretation, just by a single hand position adjustment.
Continuing with Dotzauer’s fingering interpretations, a very unusual opinion from him
appears in Sarabande of Suite II, bar 15. Demonstrated on Figure 36, he connects the F sharp
and E flat with the third finger shift. This dramatic interpretation is not seen on any other
edition published before. In general, his fingerings are functional, but this example displays
one of the boldly expressive proposals of fingering interpretations in his edition.
104 Wenzinger, 2011.
42
Figure 36: Suite in d minor, Sarabande, bar 15, Dotzauer’s Edition105
Figure 37: Suite in d minor, Menuet I, bars 1-2, Dotzauer’s Edition106
Reaching a conclusion that Dotzauer had large hands, is possible judging by his
challenging fingering advice (stretching the first finger from F to B flat and stretching forth,
second and first finger on the first chord of second bar) in Menuet I of Suite II. Nevertheless,
it is open for discussion whether they are practical. In any case, apparently, he is the first cellist
to put effort into solving further technical complications that are encountered in the Cello
Suites. The edition is exceptional in the sense of viewing the fingering interpretations on
guidance of a professional cellist, which occurred again after almost sixty years with
Grützmacher’s second edition, accordingly had a long-standing effect on performing process
of the Suites.107
In the direction of gaining further knowledge of fingering interpretations and advices,
the performers might collect various editions of the Suites, in order to display the diversities
taking place.
105 Dotzauer, 1826, https://imslp.org/wiki/6_Cello_Suites%2C_BWV_1007-1012_(Bach%2C_Johann_Sebastian) (accessed on 28.11.2019) 106 Ibid, (accessed on 28.11.2019) 107 Szabo, 2016, p. 193.
43
8. Conclusion
The Cello Suites by Johann Sebastian Bach have been admired and played by many
performers, yet its history is very limited, since there is no evidence of them being performed
during his lifetime. So, they do not come into sight in publication or copies for over a hundred
years after them being composed. In 19th Century, they becoming studies changed the
situation, and on the following years, they became a part of the concerts and performances.
As their fame expanded during the years, many number of further editions have been created
by the publishers under the light of the manuscripts. It is still a mystery if a correct edition of
the Cello Suites can be published, based on the information collected until today. The various
categories of editions, which followed the five manuscripts as a basis even now construct a
direction not only for further edition, but also for performers and musicians.
Obviously, the problems and copying mistakes of the five manuscripts establish
interpretation circumstances. The unique propositions coming from any editor and publisher
and their sources might taken into consider by the performers to form a personal approach,
cultural standards and performing concept. Since the problematic case of manuscripts
contributes to interpretations immensely, the compromise is up to the performer without
restriction. There are no limits of choosing from the ideas and concepts about the Cello Suites
and the process of further decisions is present for each and every one who are curious and
open to study the basis of the manuscripts.
44
Bibliography
Alexandra Claire Partridge, Fingering Strategies in the Prelude of J.S. Bach’s Sixth Suite for
Violoncello Solo, New Zealand School of Music, 2014
Cambridge Dictionary, https://dictionary.cambridge.org/dictionary/english/staccato
(accessed on 18.11.2019)
Eric Siblin, The Cello Suites: J.S. Bach, Pablo Casals and The Search for a Baroque Masterpiece,
New York, Atlantic Monthly Press, 2009
Hans Theodore David, J.S. Bach’s Musical Offering: History, Interpretation, and Analysis, New
York, G. Schirmer Inc., 1945
Imslp, https://imslp.org/wiki/6_Cello_Suites%2C_BWV_1007-
1012_(Bach%2C_Johann_Sebastian)
Jaap Schröder, Bach’s Solo Violin Works: A Performer’s Guide, New Haven - London, Yale
University Press, 2007
Jeffery Solow, Paper Chase: Bach Cello Suites – The Critical Editions, Strings 16, April, 2002,
pp. 70-75.
Johann Sebastian Bach, Sechs Suiten für Violoncello Solo BWV 1007-1012, Ed. by August
Wenzinger, Kassel, Bärenreiter, 1950, 27th Print (2011)
Johann Sebastian Bach, Six Solos ou Etudes pour le Violoncelle, Ed. by Friedrich Dotzatuer, n.
p., Breitkopf & Härtel, 1826
Johann Sebastian Bach, Six Suites for Violoncello Solo BWV 1007-1012, Ed. by Egon Voss and
Ginzel Reiner, München, Henle, 2007
45
Johann Sebastian Bach, Suiten für Violoncello Solo, BWV 1007-1012, Commentary, Ed. by
Ulrich Leisinger, Vienna, Wiener Urtext Edition, 2000
John Butt, Bach Interpretation: Articulation Marks in Primary Sources of J.S. Bach, Cambridge,
Cambridge University Press, 1990
Laurence Dreyfus, Bach and the Patterns of Invention, Cambridge, Harvard University Press,
2004
Malcolm Boyd, John Butt, J.S. Bach, Oxford Composer Companions, Oxford, Oxford University
Press, 1999
Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, Ed II, Indianapolis,
Hackett, 1976
Robert L. Marshall, The Music of Johann Sebastian Bach: The Sources, The Style, The
Significance, New York, Schirmer Books, 1989
Russell Stinson, J.P. Kellner's Copy of Bach's Sonatas and Partitas for Violin Solo, Early Music
13, no.2, 1985, p. 199
Stinson 1989, Russel Stinson, The Bach Manuscripts of Johann Peter Kellner and His Circle: A
Case Study in Reception History, Durham, Duke University Press, 1989
Szabo 2016, Zoltan Szabo, Problematic Sources, Problematic Transmission: An Outline of the
Edition History of the Solo Suites by J. S. Bach, PhD Thesis (Musicology), Sydney
Conservatorium of Music, The University of Sydney, 2016
Text Volume Ed. by Schwemer and Woodfull-Harris 2006, Johann Sebastian Bach, 6 Suites a
Violoncello Solo senza Basso, Text Volume, Ed. Schwemer, Woodfull-Harris, Bärenreiter
Kassel, 2006
46
Thomas Rhiannon, Johann Sebastian Bach’s Unaccompanied Cello Suites BWV 1007-1012:
Sources, Editions and Interpretations, Wellington, Victoria University, 1996
Winold 2007, Allen Winold, Bach’s Cello Suites: Analyses & Explorations, Vol. I: Text,
Bloomington, Indiana University Press, 2007
Wolff 2000, Christoph Wolff, Johann Sebastian Bach: The Learned Musician, Oxford, Oxford
University Press, 2000