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ursl)rtinqlichcnnlusikitlischenGcdankcn urrr intrrer rtlfügbar'.

tuntlwclclrcAlrwcichLrngcn auch inrnrcrhcrrtebei ALrlliihrungen


auftrctenrrriiqcn.cs ist sicher,dal] (iclehrslmkcil rrntl{csundcr
vcrsI u lrtl ribcr Nlodctorhcitcn sicuenu'crtlcrr.
N'lc ttschett

Die Sonaten und Partilen

Är. I (!:-lvloll)
.S()rrolc

I. ,ldagio.Iiin lar rgsanrer IrarmonischcrRhlthntrrshleibt in voll-


kornmcnerIlalanccnril bcrvcglichcn und fliclJcndcnVcrzicrungcn
unclr crbindctdic cxl.rlcssivcn Akkordc auf einegcnlichlicheunti
rrachtfcrrklichcAr t. J. lirga Allegro. \'<tn Il ach sclbstf iir Orgcl
und von cirtcrn rurbckartr)tcnBealbeiler fiir I-arrte bcartrcitct.
klingt dicscl:r.rgc auf dcr Violinc dcnnochanr bcstcn.ria clascpi
granrnratis(hc'l henra ihr vollkomrncn gcnüi13 ist. I'ussagcnnrit
d ichtcmund tlochschl r" irk u ngsvt)llemK()ntrapunk t $ cchsclnrnit
Zuischcnspiclcnalr. in tlcncn A rpcggio-Iiigrucn ungc.1\\ungcn
Lrndritrcrzcugcntt cin trlotiulationsschcma an(lculcrr. das nrrr Bach
crfindcnk()nntc..1..Siiliunu.\\'as Lrrsprünglich cirrlcbhaftclTanz
s ar. crschcirrtnun irlscntspanrrtc. cindringlichc\l clodie,rlic durch
harnronischcKonrrrren ticrrrrrg untl filigranhafteVcrzicrLrngver-
schiintu irrl. [)ic 'l onart ist I]-Dur. 1. I'rL'.sto.l)icscs
ist tler crstc
Satz von llach (rrntl ihnt sollen noch licle folgcn) int Stil cines
>rn()topcrl)elu()(:cin bcstimmtcr,cinnral gcw;ihltcr(irrrndno-
tcnwcrttrclrauptet sichhartnlickigbis zr:rnSchlulJ(lc\ Sirt/cs.Der
(lesamtc'intlrtrck ist tlcr ron blcntlcndcrIlrillanz unri unelschttpf-
lichcr t.ncrgic.

Partitu ,\'r I (h lvloll)

I . A llentunlt urttlI )ttublt. I) cr etu as stcifcLrrrdr uckirrt igc Imp Lrls


dicscsaltcrrticutschcn'l anzcswircl ron Z-eitzu Z-cittlrrlch einc

257
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ro
SOLOVIOLINSONATA
BACH'S IN G MINOR
(J Theoriginalmanuscriptfor this pieceoffersits own solutionsfor tacklingthe complex
a-)
P
counterpointthat liesat the work'sheart,as violinistELIZABETHWALLFISCH explains
lr)
Readthe title page of the and harmonicstructures,and most of all his
manuscriptof J.5.Bach'sset love and spirituality.
of three sonatasand three The sheerscaleof Bach'sworks suroasses
all
partitasfor unaccompanied that went before.Of music,he wrote:'Thethorough
violin,and allow the words bassis the most perfectfoundation of music,
to sinkin:'Seisoloä violino being playedwith both handsin such manner
senzabassoaccompagnato: that the left hand playsthe notes written down
Elh.bclh W.llfr.h
'5ei soli' meanssix solos, while the right adds(onsonancesand dissonances,
whereasBach'sdescription,'seisolo',translates in order to make a well-soundingharmonyto the
as'you are alone'.This may not be a misprint. glory of God,and the permissibledelectationof
In 1720,the year of the work'scomposition, the spirit;and the aim and final reason,as of
Bach'sbelovedfirst wife died while he was all music,so of the thorough bassshould be
on abroad on tour. none elsebut the glory of God and the recreation
So how mu(h can we put our understanding of the mind.Wherethis is not observedthere will
of Bachthe man into the playing of these works? be no real musicbut only a devilishhubbub.'
I would sayas much as possible:we should be Bachsigned his manuscriptswith'5oli Deo
consciousall the time of the comDoser'sown Gloria'- to the glory of God alone- but as the
styleas well as that of his era,his geniusin gorgeousline'the permissibledelectationof
improvisationand fugal writing, his voice-leading the spirit' indicates,man is neverfar away.

EDITIONS- TEMPO- FINGERINGS


- CHORDS- AFFECTAND RHETORIC
FIRSTMOVEMENT: ADAGIO

EDI ONS in orderto sen5ethe emotionlhat is to come.Werespondto whatever


EächeditionofBach'ssonatasand partitasfor soloviolinis a testament the uppervoiceis sayingon the foundationof the bass,enrichedby
to the loveand re5pectthe editors,from JosephJoachimto the harmony.So both the ba55and rhe uppervoicemuSthavethe
lvanGalamian, havehad for the composer'smusic.Tosomeexreni rime neededto speak.lfweslavishlyfolloweda rulethat the bass
however, theseeditionstell os moreaboutthe editorsthemselves, shouldalwaysbe on the beat,then what do we do with the rpeaking,
theirnylesand thelrtlme,thanaboutBäch.Eventhe Bärenreiter lJ(ext emotinguppervoice,or'thewords'?Do we swallowthem,or give
is nol Urtexlperre,and nor is CarlFlesch's.
editoriaI decisionshave them the time to speak? We must do both,imperceptiblyand without
beentakenwithoutcommentary asto the reasonsbehindthem. disturbanceto the naturalflow
Thereare many puzzlesto sove - but why not soJvethem o!rselves? Forexample,in the first beatof bar l7 of the Adagio(seepage65),
Thesolutions
arein Bach's own manuscript. Wejusthaveto learnhow there is no time to olavthe ba55beforethe beat becauseof the trill
to look in order,as muchaswe can,tofrnd Bach'svoicein histext wirh a nachschlag at the end ofthe previousbar Nevenhelestthe bass
from the greatdistanceof 300yeaß. hasto b€established,as doesthe dissonance So if
and resolution.
therewerea metronometickingawayin the backgroundwe would
YE PO find ourselveslaggingbehind.Butbecaoseour organictemposare
The questionof tempo is veryrricky,andoverthe yearsI havecome constantlyin flux,we will not be disturbedby the time that thastakes.
to rhinkoftempoasan illusion.We perceivetempoto be perfect Sometimes, one candeterminethe timing ofthe bässfrom lhe
evenwhenit is not n accordance
with anytickingt mepiece.We
are previouschord, aswiththe second chordofthe secondbeatof bar17,
living.
breathinghumanbeings.Wehaveneedsand irregularltles.
Oor wherethe ba5scanbe playedbeforethe beatand the top of the chord
heart5racewhen our emotionsare heightened,and slowwhen they on the beat.Now takethe firstchordof bar 15.Thebassmust be
are relaxedand peacef!1.
And we havean lnstinctrveneedto hear andallthepansofthechordmustbe heard.So
e5tablished thethebass,
the bassof the chordesrabished,be that beforea beat or on it, middleandtop musthavewhatever time it takesto speak.n
what rime i5laken is in5tinctively givenbackon lhe resolurion, op.2i5 a greatfriendh€re.Theexercise5, paniculay the slurredones,
but this must b€ imperceptible 50ar not to di5turbthe music. giv€the riqht arm strengthard control when diligenrlyand intelligentt =
Anothe. big question is that of improvisation,that ii the ornöments' p.actis€d.and alsothe abilityto playchordson both down and up
t-/\
linkingrhe buildingbiocksofüe harmony.Inan obituaryof hiefather, bows with equal control - to saywna(everis necesraryon each chord.
C.PE.Eachwrote:'fficw5vange,how new how expressivq how Useaslinle of the bow aspossibleto get to the top of the chord,b€
"-'+
ro
beautifulwerehi5ideasin improvising!How perfectlyhe reali5ed it a down bow or an up bow to that you havemostofthe bow srill /-
theml Experience what it is to playthe ornaments'intime',with in hand.User5of modernbowscantry holdingthe bow a littleaway
the note valuesaswritten,not freelyösin a kind of free'fall.However, from the nut to 5eehow it helpslpeed,colourand expression.
tJ1
'in time' doesnot meanstiffoasrict. Playingin rime canb€flexibl€
with infle(tionand momentarybendsoftention insidethe slurs, AFFECTAt{D RHETORIC
a5if improvising,meditatingand allowingthe flow to takethe music Thismusicspeaksand hasmeaning:there are wordswithout words.
whereit wili.Bach'5 manutcripihelp5here:you can sometimesqauge Thit meansthat caremustbe takennot to accenteverybeat and
the flow from the pen !$oke of the 5lutand the tensionof the man ro listenin impeccable
detailto what lhe harmoniesaretellingus -
holdingthe pen.Seethe wavein the lalt 5lurin bar 10or the wavy svong chords,followedperhapeby weaknesS lighr,5hade,
cnsisand
demisemiquaver l) linesat the end of bar 3 they havepacea5well
\Zaffect
(the waythe musicspeakslo the emorionsofthe listeoers).
Whenpractisingthe technicalasp€cts, a mevonomei5 a huge Ihemusic andcaremust
speaks
help.I would suggestyou playthe Adagiomuchroo fast,to drivethe
musicfrom one harmonyto the next and to intensiryth€emotional
betakento listentowhatthe
journey.Of course,playingslowlyand then graduallyincreasing
the tempo,all with greatattentionto the detailof the rhythms
narmontes
areleiltn0
u5
in the palsaqes, i5 an enormoushelp anthe gainingof control.

flltGER|lrGs resolution.Your voice-leadingis vitalthfoughoutthe wolk:bar56lo 9


In Bach,thefirtt port ofcall rhouldalwdysbe frrstposition,followed area wonderfulexampleof the bals leadingthe proceedings.
by secondposition,thirdand so fonh.Thereis no melodicpu.pose ln the firstbearof bar 1 qiveweightrc the bas5,andjoin each
in u5inghigherpoiitiofli on lowerstrings.Forin5tance.if you go note asthe bow movesacrossthe svrngs,leavrngthe lowerstringas
up rhe A rtring aothe third beatof bar4 of the Adagioir may be the next st.ingis added(the'wordt are impo55ibly long windedl).
verybeautifulviolanplaying,brit it doe5not 5ervethe harmony How long you hold the B flat to the top G i5 up lo you:thereis no
nor the voice'leading. Youmust not treatthe notesasif they are absoluterule.A tonqerI flat addspathos;ashorter5trongchord
purelya melody,but playthe notet in fir5tporationasthe pure with the G left älonesaysdrama,crisisand pain.
'ame
. harmonicchordacrossthe stringsof the violin.JtEre ir a lemptation Playthe long G in bar 1 with a swell,thenan imperceptible decay
in bar 18to shiftup the D sving from E flat to B flat,fromthe fir5tto a5it is aboutto collap5eon to the F and down to the thnd beat.
the third finger.Thisrsfar removedfromlhe harmonicimperative!, Despitethe gtring-crogsings,rhisshouldall b€playedin firstposition.
reflectsa melodkbeautythat camelater- porlamento. Resi5t Establish the 7th (theA towardsthe end of beat 2 to the G in
V,
temptations of thigkrnditheyarea tlipperyslopeinto 1gth-century rhe chordin the third beat)and the 4th {rheG to ihe C,the top
styles,thore of aboul 100yeaßafier8äch.whichmaskthe erquisite note in beat3).releasethe C and slr the G to the en5uingF sharp.
beautyof hisown time. Slurringequalsaffeciasthe off-beatslursin the third and fourth
Thinkhafmoni(allyin yourchoi<eoffingerings-Usethe ttringsas beatsof bar 20 show.lfyou sta( the third beat with a cresaendoand
with a lute or guitar,andexp€rience
the emotionsthat the harmonies then playeachsluragain5tthe beatwith a gentleaccentand then
create.Also when puzzlingoverthe ambiguitie5
think harmonically a diminuendo,wha!willthal tellyou?How doesit makeyou feell
in the acciden(als the third beat of bar l,theaeis no
and slurring5.In Eachpäintedwordsallhis life,andthereaie wordshere,too.
tlur betweenthe F 5harpand the 6, bLrtthey belongtogethera5the Notethat therej5 a misunderstanding in the firstand secondbeatt
chord, rtretsand relea5e. Nor is thereslurringbetweenthe B flat and of bar 4.The beatsare often playedas if they belong togethel with
the D in the thkd beat of bar 4,eventhoughthey belongrogether a turn from the trill at üe end of bar 3 ro rhe A in rhe secondb€arof
harmonicdlly.This is becausethe tailsof rhe chordobstructed8a<hin bar4.Tryplayingthe firstbeatof bar4 .s if thereis an appoggiatura
the wridngofthe slurlhesenotet shouldbe sluredby th€convention on the G rcsolvingon to the F sharpthat comesimmediatelyafter.
thärjoinsthe appoggiatura to the retolution(ahhoughn is also 'fhenbeginagainwith a new phraseon the A,asan upbeat to
po5sibleto playlegatowithout 5lurring).There arelimilär in'lances the third beat of the bar TheA qive5a momentof hope.
of stres'-relealeand note5that belongtogetherharmonically in the Anotherinstanceof affectcano<(ur in bärs13 and | 4.After
firstbeat!of bar! I7 and 21,but in the5ecasesthe !lur5arethere. the fermatain bar 13,plöythe barexactiyin time (a9fatt note5)
with a nicestresson the lastD leadingto the C trill thar shouldbe
CHORDS playedweaker, and then stop.Salence.Uncenaintv. At the next bar,
How doesone approachthe chordsin Bach?Neverusethe Romantic lesrart'asifat the beginningofthe Adagio.
5tyleof dividingthe chordr'two notesby two notes here.Thelute or Finally.driveihe passagefrom beat 3 of the p€nultimatebar of
the harpsichord can help informus:approach chordplayingas if you the Adagiolo the end'in time'.lt shouldnt be slow Really(ount it
were pluckrngan arpeggioacrossthe rtrings.Sevtit3V|o[n5tudies out - it is a dramaticoutcryof g.eatfor(e and pasSion-.
J .S . B A C H

Improvisation
A Disciplined
IN THEFrRsror.'AT\\'o-pAnrARTrcln,Rutr Wrrnnrnr Expl-oRlrs
rHr n,iäu G rrrxon Sfi-o Sor,n

he rrtacrrrttpanicd s'o*s ofJ.S. Bach.rlc the rrrtdis- it gre$ k, svrttl>olisethc inrpor{nnt issrrc of arrtorttatic{i.t'.
arrd urrrnurrr hcrit gc lirr-rll strirg
ptrte<llinrrr<l:rtiort r'cr(liti()n (,f n(,tlliorr. \\'hat ir thc diffclt'rrct'
rrncorrsidt'r-c<l)
I- pllr cls. Älthor r gh I lolc t o n olk or B( ' ( , t h o v e n , bt tu,ecn r clxrxl pluv'd sirnrrltlncorrslr- rrr'rolled. as irr strirrt
Brithnrs:rnd Bartrik. I rnr rrt'rr.r'hlppicl tlrlrr slrt'rr lirr gmp- plaring - an<l l chorrl grlax'<l ir t\\1) Itnrts? Th<. nrairr <lill't.r'-
pling rlith tlx.sc sonatar :rD(lplr{it:rs, tnirrg to <lir<rrrcr-:rn<l t'rrcr is r'llthnric. A chorrl plare<l in t$rr pnrts has a rlrrllrrrrit'
rrrrcrlt'r'thc srrir'itarrdcsst'rrtr. r<ldiliorr. r'ath<'r- lili<' arr rrplx'll
,,f <,r,chnr,,r..,'<.,rt.Thc tt,clrrri- 'The improvisatory nature of the rvriting seems t'r'. ()nc oftt'n lrcals
sr'rrri-rlrrar
c.l tlr.llcrtgcsa'c <'tlrr.ll'r thc this adagioplart{ sith inrur!(.r'-
to militate against the grand style. After all,
nrrrsicalttlrcsr' lr'<' t.rhlrrstirrg rrlrlrt'rrtr, rrr:rkirrgtlrt'
abl<' a<lcl<'<l
lrtrl <rrrrplttr'lr lirllillins t)n({ s if onc is imprrf ising, gnc is feeling fanciful, dlt'ldr <rrrrtpk.rrlrrthrrr krtalh
trr p lar . lr ot h phr s i c l l l r :rrrtl irrtrrrrtplchcrrribL..'l'his str L. ol'
. I pcr.sorrrrllr lir.l sp()ntarrc()us, m l bc cve n unsure (tf onrsclf.' pllring ch,,xl. also dirtrrrts tlrc
"nr,,ti,rrralh
thlrt tLc\ ncc(l rrot lx'thc t'r<lrr- rncLxlr. sirr<.r. tlx' l<kk,<l\rplx,nt'
shr. dorrrainol lx,ri(xl instnnrrcrrrpLricls. ard th:rt.iusti({,c:rr ll)lx'lrs t{, lx.;r:rrt ol thr. nrr.kxlr. ()rr tlrr',rllrcl lrlnd. pl:rrirrg
lx' < h rrx.t,rlrrlllr o rr ' r r r r x l,r r r ' in. ilr r ll( . lt \ . l. lit ( . ltin( l i \ i ( l t r t l tlt'ch,rr<l rrrlLrl. citlx'r'lirst ol skrrr. pr.lrrirk,stlrr'lrlrrrrorn irr
rnrrrt rrrrrkchir orvrrdctisiorr lr to slrcllx'r'tr ;x'r'lirrrrrthot' irr orrc rlrrlhrrric irrrprrlsc,rrrl sorrrr<lsnrrx' lil<' l llorrlirh. l hir ir.
prrblic: horrt'rcr'.ir ln'i\':rtc.rrt.clrr n'rt.l irr tlrr.rrr:rsrrrrlks ol ol corrlsc, tlrl rll, ol plavirrg <lxrrrls adror':rtt.tlll li:urx1r.
lrl an<lcln lx' nrort d lrr thcir lx'arrtr rrrtl conrprr'Lcrrrircrr<.ss. irstnrnr('rtrlisls (lxrth st rrg ruxl kcrlxrlrrl pl;rrcls). tLrn corr-
\\'hcthcl orrt' is bccorrring:rrrllrirrk.rl rr ith u rrrorr.rrrcn(irr' Iilnring orrc s krgi<al <rrrrdrrsion.(Tlrt. clrorrl issrrcr.rlcrr<Lkr
tlx' linit tinrc or-r'(\rrrlkirrqir firnriliulorrt'.thc plrxtrs rccrrrr tr ll'ctlrorcrr's Klt.rrtztri Sorrirta.rr'hclc orrt,irralilblr hculr tlrt'
lx' th:rt of blclthing lil(' int,, :r lorrg-slunrlx,r'irrg spirit llati riolirrist ;rrxl l)irnist l)Lr\ tlrc rlx.ring clrrrrrlrritlr lrrd sitlrrrrrl
docs not htlp rrs rttrrchsilh rrtrulingr ol't, rrryxr.drn:rrrrics.or l n t r p b c l t l c s l x 'c t i v 'h : l l r i t . h a l l l s r r i r k 'r r rr c r to r r <L 'r
articrrllrtiorr.
urtd tlrt'l)(.r-fi)r-nrirg ol lris tirrr. lraslx,t'rr
lr':r<liti()n \rl('tlr(r'thc\ havt'rr'htars<,dal all.,rr'. rrr,,r'clilclr. rrlrctlrcr'
lrrrg lirlqrrttt'rr.()nlr rtccrrtlr hurt.rrc rcllist.rl thrt ir ()rrl(r t(, t h <'r h l v c ' s i r r r p l r ' l r t 'c o r n c d t . a f t o t h i s i r c ( ) r s i stcr c\. ( ,r
rrrrdt'r'stlrrdBacL's nrrrsit. rlt' nrrrstuckrrorrlcrlgr.orrr la<.kol' u'lrctlx'r-thcv h:rvc actrrallr t.lroscrrto pl:rr il thir rrar arrd sln l
\1<'halt' k'alncd th:rt orrr'!{)th ((.rtnr'\' rr()t:r-
rrtr<k.rstal<lirtg. - but thlt's iurothcr 1rfti(.lc!)
tion has clrurrgt<l sint.t' llat.L'r <lit,r.arrtl thal orrr''rtatrrral Thc nranr rfurrrls in tht' Ila<lt Adagio <ar lrt,plart'd rrith lrr
ri('rlxnrscstr) sorrnd and phllring arrd :uticlrl:rti(nralt'condi- irrfirtite lalit tl of dlrranrit.sarrd s1x'etl.I lsc(l k) lxli(\ c tlurt
tiorr<.dlrr th<' liorllrrti< (;rn<lllto) str'lcsol riolirr plning. Srr largc chorr.ls crrul<l bc plan'rl onh Lrtrdlr, l)rt $ith pritcticc.
st' ruc lcurnirrg his Lrrrgrraqc .jrrstls rrc lc'iu-rtlrrr lilcigrr larr- otrc can ltarn to c{ress th('strirrgs lighth lt tlrt'lirrg, rvith tlx'
guilllc: {nrc thx's rrol assrrrrt.l corrnrorralitr ol prrrrrrrrr<.iatiol luril ttrlncd orr its sidc arrd tlrr.alrn lirlLxirru tll'<rrrvttrrlc ol'
(t-nrctnilrg ('\(.rrtlrrxrgha;1x.ar-irrrct.r clrl lx.\(.(hr(ti\(.(ilrst:N tbc blidgc, kr pxxlucc ar crrlriritt'h pi:urissirx)chrld. l'hi.
'pairr'carrlx'rrrrpk,asarrtirr lirrgllrxl arrclrutdti()lls ir l.riulc(.!) r4x'rrsqr thc licld ol <hrtrrrti<lxrssibiliticslo nrrrsicalcorrridcr'-
'l'llc. lirr irrsllrrcr'.thc rcrr lilrt rorrrrrloItll.Sollta no.l irr :rtirnlsitrstcl(l ()f l(.clrrricllurrrrtllirrt..
O rtrirxrr-Iirl solo riolin (l|\l\' l(X)t). \\'hcrr I rrls l('iurrir)gthis 1-ht,strlc ol rvlitilg irr this A<lagiois:ur iltlnovis:rt(,r-\'\r(.1\-
picce (alorrrtrll9(i{)).ortt,rrls tarrqhtto pllr l lirrrr-notcchrrll irtg arltrnd a ploglcssiorrrrf rlrords. This rrls a corrrnronlilrrr
irr hv() Ittui\. ,\rrrlrt't. irr rrn Pilrro k'ssorrr.| \\i$ tlu{llt tr) l)lt\ of rlr'itirrgart<lrr':rsnornralh rrotatt.dorrh rrith th<.clxrr<h(rr.,'
srrr' ha <lron l ,iirrrrltanc , , r r . h.lk . ir r g als ar r l. ugc l t o c \ l x ) \ c C('relli. \'ilnkli. ctc.) Ilxv gratclirl sc llc th:rt ts:rch rrrrrlt.
inc(nrsistcnciesin nl Lrug-srrlli'ringtclchcrs. I gmsl>edthe down his impnrvisatio ! Ilorvever'. our strle of Plaring nrust
brrll br the horrrsantl tlerrrlrr<lt'<lrn t,xplal,rtiorr.To rro:rvail- retxin thc iDtprovisatory charactel despitt, the precisc rx,tt-
the (ltlcsti(nldidrr't clen stcrtr trr lx'ofnrrl intcrest. I}trt to me tion. I nornrally enc.ounrgenry studerrts firit b l)lay this nr(^'(-
E r. l
ment in strict time until the conrplex rhrthms have lren accu-
rately absorüed, and thel b plr\ it as if the\' $€r? impmris-
ing. The difference il plaring a rnekrdl aud plaring impmvisa-
tiou lies in the rhrthnric fletibilitl and in the qualih' of the
sound. For tlre openirrg descerrdirrg scale to take its lrmper
plaße, one must not plal elen note \iith nrelodic sigrilicanc'e,
but mrrst let the scale 0orl natur:rlh-. as a piece of decrrmtion
whrxe frrnc.tion is to dras the ell fronr the lirst chord to the
sc<rrrrdr(see Es.l).
Another cnrcial element that enables the eal to distirreuish
lrr'lod.'- fronr decoration is tetlrPo. HoweYer flerible ortc's
rhrthm, it rvill be inrgxsible to lrt'ar this lirre ts rrol-rrrclxlic if
it is ttxr sl<nl for the ear to hear the lusic stnrcture.
So lnother recommendati(nr is to pla! the opcning f<rur
clrords $ithorrt thc liligrer,. :rrrd to ffnd the sl(^r'cst tcnrpo :rt
$'hich ther'lrllng togethcr. Yorr $ill find thlt the t('Irp{} is
firsler thnrr urticip:rted brrt rrxr uill also lin(l thrt it is rro$'lx)s-
sihk to plar'8a<.h's lxxrirrg sithrrrt brllkin{ his slrrm.'l'his is
rlot tr lx.(lnrtic lx)inti rnlh il l]l<h's lxrlitrg is lxrnorrrr<l crrn
- thc third sct of denti-senti<|rar(r'r br. hc:u<l irli x (rnrtirrrxnrs
(.rnlx.llishnx'nt arrrtrnd thc pitch of 'C'. 'l'hc st:rndar'<lhlhit ol
bn':rking this slrrr cn'ates rvhat I considr.r'to lx. a rlispnrrrrrnci-
nti(nr ol this (nrrlurcit \r'hich disxrht.s inlx'r'<<ptibh irt{, t|tc
trill to firrrrr irn t lalx)ntle (.ad(ncc.
\\'ltih'*r'lrc still orr llx' fir'st pltlasc. I \iurl tr) lxlirt (,ut
tlr:rt rrricr'lcuding nrrrstbc attcr|(l({l kr il th('li|lc is t(' rr:rkc
sr. r rrr'.llo s ,,licrr h a. , . s r ' lr r . : r lr l t lr ir r Lr nir r : r r rir
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901
J .S . B A CH M A S T E RCL A S S

Ex,3

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rt ww cytk fn' thc IIUC.Shchnslncn ltu&itts t th( (:i!tl

J.S.Bach- Violoncello
Suites
GuideforStudyandPerformance
TheComplete
SixSuitesfor Violoncello
solo SixSuitesfor Violoncellosolo
BWV1007-1012 BWV1007-'t012
Thefoursources ina Facsimile
edition. Performing paperbound.
edition,
Ed.HansEppstein. paper
172Pages, Ed.AugustWenzinger
bound. BA320 f6.95
BVK1044 f29.95
AugustWenzingerS practical
editionof
A completeFacsimile of all
reproduction Johann Sebastian Bachb famous Suites
of Bach3
foursources famous for
Suites hasbecome therecoqnized for
edition
- aninvaluable
soloVioloncello and Cellists
today. WenzingerS long
fascinating
edrtionforscholars
and experiencein thefieldof earlymusic
oerformers
alike. perfomance practicehasleftitsmarkon
andmakes
thisedition it anoutstanding
guideforanauthentic interpretation.
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