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AI Renae oa O Fohann Sebastian Bach oe Edited for Guitar by Frank Koonce’ Ge Solo Lute orks OF Gohann Sebastian Bach Edited for Guitar by Frank Koonce ON THE COVER Johann Sebastian Bach—from a painting by Elias Gottlieb Haussmann, 1748, in the Collection of William H. Scheide, Princeton, New Jersey. ‘The Haussmann portrait, which exists in two versions, i the only likeness of Bach which may be regarded as authentic. The earlier version which dates from 1746 is now inthe Museum fr Geschichte der Stadt Leipig. Ithad been inthe possession ofthe Thomasschule from 1809 to 1913 when it was restored and moved to the museum. Having been damaged and repeatedly painted cover, itremains inferior tothe 1748 replica. ‘The latter portrait, possibly Bach’s personal copy, was later listed as pat ofthe estate of Car Philipp Emanuel Bach. It was sold toa Berlin antique dealer around 1800 by Emanuel’s daugh- ter, From there it went toa private collector who immigrated to England and then to the United States. Bach may have intended to present the portrait tothe Corres- pondirende Societat der Musicalischen Wissenschaften (Society cf Musical Sciences) which he joined in 1747, According to the constitution of the society, each new member was required to furnish a portrait and a“‘scientific”” musical composition. Bach submitted the canonic variations on Vom Himmel hoch (BWV 768) along witha six-part canon from the series onthe bass ofthe Goldberg Variations (BWV 1076) which he is shown holding in the portrait ACKNOWLEDGEMENTS I would like to thank harpsichordist Richard Troeger for con- tributing “Aspects of Baroque Style,"” for the first part on “Rhythmic Flexibility,” and forhis advice regarding other stylis- tic discussion in this edition. I would like to thank professors Robert Clark, William Magers, Robert Oldani, and Robert Rey- nolds of the Arizona State University music faculty for assistance with the text; concert artist David Russell and A.S.U. alumni guitarists Tom Harder and Scott Saar for fingering suggestions. I wish to express my love and appreciation to my wife Joanne, a fine harpsichordist, for her continual help and encouragement. ‘A generous grant was provided for me through the A.S.U. Office of Research and Development. Translations were by Mark Bighley, Ralph Morris, and Theodora Morris. Music engraving and typesetting were by Nancy Clauter, Ken Haefner, and Xu Wen Yan, ABOUT THE EDITOR Frank Koonce, Associate Professor of Music, has directed the guitar program at Arizona State University since 1978. He holds