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
q
q
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
to the loveand re5pectthe editors,from JosephJoachimto
lvanGalamian, havehad for the composer'smusic.Tosomeexreni
however, theseeditionstell os moreaboutthe editorsthemselves,
theirnylesand thelrtlme,thanaboutBäch.Eventhe Bärenreiter lJ(ext
is nol Urtexlperre,and nor is CarlFlesch's.
editoriaI decisionshave
beentakenwithoutcommentary asto the reasonsbehindthem.
Thereare many puzzlesto sove - but why not soJvethem o!rselves?
Thesolutions
arein Bach's own manuscript. Wejusthaveto learnhow
to look in order,as muchaswe can,tofrnd Bach'svoicein histext
from the greatdistanceof 300yeaß.
YE PO
The questionof tempo is veryrricky,andoverthe yearsI havecome
to rhinkoftempoasan illusion.We perceivetempoto be perfect
evenwhenit is not n accordance
with anytickingt mepiece.We
are
living.
breathinghumanbeings.Wehaveneedsand irregularltles.
Oor
heart5racewhen our emotionsare heightened,and slowwhen they
are relaxedand peacef!1.
And we havean lnstinctrveneedto hear
the bassof the chordesrabished,be that beforea beat or on it,
the uppervoiceis sayingon the foundationof the bass,enrichedby
the harmony.So both the ba55and rhe uppervoicemuSthavethe
rime neededto speak.lfweslavishlyfolloweda rulethat the bass
shouldalwaysbe on the beat,then what do we do with the rpeaking,
emotinguppervoice,or'thewords'?Do we swallowthem,or give
them the time to speak? We must do both,imperceptiblyand without
disturbanceto the naturalflow
Forexample,in the first beatof bar l7 of the Adagio(seepage65),
there is no time to olavthe ba55beforethe beat becauseof the trill
wirh a nachschlag at the end ofthe previousbar Nevenhelestthe bass
hasto b€established,as doesthe dissonance So if
and resolution.
therewerea metronometickingawayin the backgroundwe would
find ourselveslaggingbehind.Butbecaoseour organictemposare
constantlyin flux,we will not be disturbedby the time that thastakes.
Sometimes, one candeterminethe timing ofthe bässfrom lhe
previouschord, aswiththe second chordofthe secondbeatof bar17,
wherethe ba5scanbe playedbeforethe beatand the top of the chord
on the beat.Now takethe firstchordof bar 15.Thebassmust be
andallthepansofthechordmustbe heard.So
e5tablished thethebass,
middleandtop musthavewhatever time it takesto speak.n
 what rime i5laken is in5tinctively givenbackon lhe resolurion,
but this must b€ imperceptible 50ar not to di5turbthe music.
Anothe. big question is that of improvisation,that ii the ornöments'
linkingrhe buildingbiocksofüe harmony.Inan obituaryof hiefather,
C.PE.Eachwrote:'fficw5vange,how new how expressivq how
beautifulwerehi5ideasin improvising!How perfectlyhe reali5ed
theml Experience what it is to playthe ornaments'intime',with
the note valuesaswritten,not freelyösin a kind of free'fall.However,
'in time' doesnot meanstiffoasrict. Playingin rime canb€flexibl€
with infle(tionand momentarybendsoftention insidethe slurs,
a5if improvising,meditatingand allowingthe flow to takethe music
whereit wili.Bach'5 manutcripihelp5here:you can sometimesqauge
the flow from the pen !$oke of the 5lutand the tensionof the man
holdingthe pen.Seethe wavein the lalt 5lurin bar 10or the wavy
demisemiquaver l) linesat the end of bar 3 they havepacea5well
\Zaffect
(the waythe musicspeakslo the emorionsofthe listeoers).
Whenpractisingthe technicalasp€cts, a mevonomei5 a huge
help.I would suggestyou playthe Adagiomuchroo fast,to drivethe
musicfrom one harmonyto the next and to intensiryth€emotional
journey.Of course,playingslowlyand then graduallyincreasing
the tempo,all with greatattentionto the detailof the rhythms
in the palsaqes, i5 an enormoushelp anthe gainingof control.
flltGER|lrGs
In Bach,thefirtt port ofcall rhouldalwdysbe frrstposition,followed
by secondposition,thirdand so fonh.Thereis no melodicpu.pose
in u5inghigherpoiitiofli on lowerstrings.Forin5tance.if you go
up rhe A rtring aothe third beatof bar4 of the Adagioir may be
verybeautifulviolanplaying,brit it doe5not 5ervethe harmony
nor the voice'leading. Youmust not treatthe notesasif they are
purelya melody,but playthe notet in fir5tporationasthe pure
'ame
. harmonicchordacrossthe stringsof the violin.JtEre ir a lemptation
in bar 18to shiftup the D sving from E flat to B flat,fromthe fir5tto
the third finger.Thisrsfar removedfromlhe harmonicimperative!,
reflectsa melodkbeautythat camelater- porlamento. Resi5t
V,
temptations of thigkrnditheyarea tlipperyslopeinto 1gth-century
styles,thore of aboul 100yeaßafier8äch.whichmaskthe erquisite
beautyof hisown time.
Thinkhafmoni(allyin yourchoi<eoffingerings-Usethe ttringsas
with a lute or guitar,andexp€rience
the emotionsthat the harmonies
create.Also when puzzlingoverthe ambiguitie5
think harmonically
in the acciden(als the third beat of bar l,theaeis no
and slurring5.In
tlur betweenthe F 5harpand the 6, bLrtthey belongtogethera5the
chord, rtretsand relea5e. Nor is thereslurringbetweenthe B flat and
the D in the thkd beat of bar 4,eventhoughthey belongrogether
harmonicdlly.This is becausethe tailsof rhe chordobstructed8a<hin
the wridngofthe slurlhesenotet shouldbe sluredby th€convention
thärjoinsthe appoggiatura to the retolution(ahhoughn is also
po5sibleto playlegatowithout 5lurring).There arelimilär in'lances
of stres'-relealeand note5that belongtogetherharmonically in the
firstbeat!of bar! I7 and 21,but in the5ecasesthe !lur5arethere.
CHORDS
How doesone approachthe chordsin Bach?Neverusethe Romantic
5tyleof dividingthe chordr'two notesby two notes here.Thelute or
the harpsichord can help informus:approach chordplayingas if you
were pluckrngan arpeggioacrossthe rtrings.Sevtit3V|o[n5tudies
op.2i5 a greatfriendh€re.Theexercise5, paniculay the slurredones,
giv€the riqht arm strengthard control when diligenrlyand intelligentt =
p.actis€d.and alsothe abilityto playchordson both down and up
t-/\
bows with equal control - to saywna(everis necesraryon each chord.
Useaslinle of the bow aspossibleto get to the top of the chord,b€
"-'+
ro
it a down bow or an up bow to that you havemostofthe bow srill /-
in hand.User5of modernbowscantry holdingthe bow a littleaway
from the nut to 5eehow it helpslpeed,colourand expression.
tJ1
AFFECTAt{D RHETORIC
Thismusicspeaksand hasmeaning:there are wordswithout words.
Thit meansthat caremustbe takennot to accenteverybeat and
ro listenin impeccable
detailto what lhe harmoniesaretellingus -
svong chords,followedperhapeby weaknesS lighr,5hade,
cnsisand
Ihemusic andcaremust
speaks
betakento listentowhatthe
narmontes
areleiltn0
u5
resolution.Your voice-leadingis vitalthfoughoutthe wolk:bar56lo 9
area wonderfulexampleof the bals leadingthe proceedings.
ln the firstbearof bar 1 qiveweightrc the bas5,andjoin each
note asthe bow movesacrossthe svrngs,leavrngthe lowerstringas
the next st.ingis added(the'wordt are impo55ibly long windedl).
How long you hold the B flat to the top G i5 up lo you:thereis no
absoluterule.A tonqerI flat addspathos;ashorter5trongchord
with the G left älonesaysdrama,crisisand pain.
Playthe long G in bar 1 with a swell,thenan imperceptible decay
a5it is aboutto collap5eon to the F and down to the thnd beat.
Despitethe gtring-crogsings,rhisshouldall b€playedin firstposition.
Establish the 7th (theA towardsthe end of beat 2 to the G in
rhe chordin the third beat)and the 4th {rheG to ihe C,the top
note in beat3).releasethe C and slr the G to the en5uingF sharp.
Slurringequalsaffeciasthe off-beatslursin the third and fourth
beatsof bar 20 show.lfyou sta( the third beat with a cresaendoand
then playeachsluragain5tthe beatwith a gentleaccentand then
a diminuendo,wha!willthal tellyou?How doesit makeyou feell
Eachpäintedwordsallhis life,andthereaie wordshere,too.
Notethat therej5 a misunderstanding in the firstand secondbeatt
of bar 4.The beatsare often playedas if they belong togethel with
a turn from the trill at üe end of bar 3 ro rhe A in rhe secondb€arof
bar4.Tryplayingthe firstbeatof bar4 .s if thereis an appoggiatura
on the G rcsolvingon to the F sharpthat comesimmediatelyafter.
'fhenbeginagainwith a new phraseon the A,asan upbeat to
the third beat of the bar TheA qive5a momentof hope.
Anotherinstanceof affectcano<(ur in bärs13 and | 4.After
the fermatain bar 13,plöythe barexactiyin time (a9fatt note5)
with a nicestresson the lastD leadingto the C trill thar shouldbe
playedweaker, and then stop.Salence.Uncenaintv. At the next bar,
lesrart'asifat the beginningofthe Adagio.
Finally.driveihe passagefrom beat 3 of the p€nultimatebar of
the Adagiolo the end'in time'.lt shouldnt be slow Really(ount it
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
he rrtacrrrttpanicd s'o*s ofJ.S. Bach.rlc the rrrtdis-
arrd urrrnurrr hcrit gc lirr-rll strirg
ptrte<llinrrr<l:rtiort
I- pllr cls. Älthor r gh I lolc t o n olk or B( ' ( , t h o v e n ,
Brithnrs:rnd Bartrik. I rnr rrt'rr.r'hlppicl tlrlrr slrt'rr lirr gmp-
pling rlith tlx.sc sonatar :rD(lplr{it:rs, tnirrg to <lir<rrrcr-:rn<l
rrrrcrlt'r'thc srrir'itarrdcsst'rrtr.
,,f <,r,chnr,,r..,'<.,rt.Thc tt,clrrri- 'The improvisatory nature of the rvriting seems
c.l tlr.llcrtgcsa'c <'tlrr.ll'r thc
to militate against the grand style. After all,
nrrrsicalttlrcsr' lr'<' t.rhlrrstirrg
lrtrl <rrrrplttr'lr lirllillins t)n({ s if onc is imprrf ising, gnc is feeling fanciful,
trr p lar . lr ot h phr s i c l l l r :rrrtl
. I pcr.sorrrrllr lir.l sp()ntarrc()us, m l bc cve n unsure (tf onrsclf.'
"nr,,ti,rrralh
thlrt tLc\ ncc(l rrot lx'thc t'r<lrr-
shr. dorrrainol lx,ri(xl instnnrrcrrrpLricls. ard th:rt.iusti({,c:rr
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
rnrrrt rrrrrkchir orvrrdctisiorr lr to slrcllx'r'tr ;x'r'lirrrrrthot' irr
prrblic: horrt'rcr'.ir ln'i\':rtc.rrt.clrr n'rt.l irr tlrr.rrr:rsrrrrlks ol
lrl an<lcln lx' nrort d lrr thcir lx'arrtr rrrtl conrprr'Lcrrrircrr<.ss.
\\'hcthcl orrt' is bccorrring:rrrllrirrk.rl rr ith u rrrorr.rrrcn(irr'
tlx' linit tinrc or-r'(\rrrlkirrqir firnriliulorrt'.thc plrxtrs rccrrrr tr
lx' th:rt of blclthing lil(' int,, :r lorrg-slunrlx,r'irrg spirit llati
docs not htlp rrs rttrrchsilh rrtrulingr ol't, rrryxr.drn:rrrrics.or
articrrllrtiorr.
urtd tlrt'l)(.r-fi)r-nrirg ol lris tirrr. lraslx,t'rr
lr':r<liti()n
lrrrg lirlqrrttt'rr.()nlr rtccrrtlr hurt.rrc rcllist.rl thrt ir ()rrl(r t(,
rrrrdt'r'stlrrdBacL's nrrrsit. rlt' nrrrstuckrrorrlcrlgr.orrr la<.kol'
\1<'halt' k'alncd th:rt orrr'!{)th ((.rtnr'\' rr()t:r-
rrtr<k.rstal<lirtg.
tion has clrurrgt<l sint.t' llat.L'r <lit,r.arrtl thal orrr''rtatrrral
ri('rlxnrscstr) sorrnd and phllring arrd :uticlrl:rti(nralt'condi-
tiorr<.dlrr th<' liorllrrti< (;rn<lllto) str'lcsol riolirr plning. Srr
st' ruc lcurnirrg his Lrrrgrraqc .jrrstls rrc lc'iu-rtlrrr lilcigrr larr-
guilllc: {nrc thx's rrol assrrrrt.l corrnrorralitr ol prrrrrrrrr<.iatiol
(t-nrctnilrg ('\(.rrtlrrxrgha;1x.ar-irrrct.r clrl lx.\(.(hr(ti\(.(ilrst:N
'pairr'carrlx'rrrrpk,asarrtirr lirrgllrxl arrclrutdti()lls ir l.riulc(.!)
'l'llc. lirr irrsllrrcr'.thc rcrr lilrt rorrrrrloItll.Sollta no.l irr
O rtrirxrr-Iirl solo riolin (l|\l\' l(X)t). \\'hcrr I rrls l('iurrir)gthis
picce (alorrrtrll9(i{)).ortt,rrls tarrqhtto pllr l lirrrr-notcchrrll
irr hv() Ittui\. ,\rrrlrt't. irr rrn Pilrro k'ssorrr.| \\i$ tlu{llt tr) l)lt\
srrr' ha <lron l ,iirrrrltanc , , r r . h.lk . ir r g als ar r l. ugc l t o c \ l x ) \ c
inc(nrsistcnciesin nl Lrug-srrlli'ringtclchcrs. I gmsl>edthe
brrll br the horrrsantl tlerrrlrr<lt'<lrn t,xplal,rtiorr.To rro:rvail-
the (ltlcsti(nldidrr't clen stcrtr trr lx'ofnrrl intcrest. I}trt to me
E r. l
Expl-oRlrs
rHr n,iäu G rrrxon Sfi-o Sor,n
it gre$ k, svrttl>olisethc inrpor{nnt issrrc of arrtorttatic{i.t'.
r'cr(liti()n (,f n(,tlliorr. \\'hat ir thc diffclt'rrct'
rrncorrsidt'r-c<l)
bt tu,ecn r clxrxl pluv'd sirnrrltlncorrslr- rrr'rolled. as irr strirrt
plaring - an<l l chorrl grlax'<l ir t\\1) Itnrts? Th<. nrairr <lill't.r'-
t'rrcr is r'llthnric. A chorrl plare<l in t$rr pnrts has a rlrrllrrrrit'
r<ldiliorr. r'ath<'r- lili<' arr rrplx'll
t'r'. ()nc oftt'n lrcals
sr'rrri-rlrrar
this adagioplart{ sith inrur!(.r'-
rrlrlrt'rrtr, rrr:rkirrgtlrt'
abl<' a<lcl<'<l
dlt'ldr <rrrrtpk.rrlrrthrrr krtalh
irrtrrrrtplchcrrribL..'l'his str L. ol'
pllring ch,,xl. also dirtrrrts tlrc
rncLxlr. sirr<.r. tlx' l<kk,<l\rplx,nt'
ll)lx'lrs t{, lx.;r:rrt ol thr. nrr.kxlr. ()rr tlrr',rllrcl lrlnd. pl:rrirrg
tlt'ch,rr<l rrrlLrl. citlx'r'lirst ol skrrr. pr.lrrirk,stlrr'lrlrrrrorn irr
orrc rlrrlhrrric irrrprrlsc,rrrl sorrrr<lsnrrx' lil<' l llorrlirh. l hir ir.
ol corrlsc, tlrl rll, ol plavirrg <lxrrrls adror':rtt.tlll li:urx1r.
irstnrnr('rtrlisls (lxrth st rrg ruxl kcrlxrlrrl pl;rrcls). tLrn corr-
Iilnring orrc s krgi<al <rrrrdrrsion.(Tlrt. clrorrl issrrcr.rlcrr<Lkr
ll'ctlrorcrr's Klt.rrtztri Sorrirta.rr'hclc orrt,irralilblr hculr tlrt'
riolirrist ;rrxl l)irnist l)Lr\ tlrc rlx.ring clrrrrrlrritlr lrrd sitlrrrrrl
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
\rl('tlr(r'thc\ havt'rr'htars<,dal all.,rr'. rrr,,r'clilclr. rrlrctlrcr'
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
u'lrctlx'r-thcv h:rvc actrrallr t.lroscrrto pl:rr il thir rrar arrd sln l
- but thlt's iurothcr 1rfti(.lc!)
Thc nranr rfurrrls in tht' Ila<lt Adagio <ar lrt,plart'd rrith lrr
irrfirtite lalit tl of dlrranrit.sarrd s1x'etl.I lsc(l k) lxli(\ c tlurt
largc chorr.ls crrul<l bc plan'rl onh Lrtrdlr, l)rt $ith pritcticc.
otrc can ltarn to c{ress th('strirrgs lighth lt tlrt'lirrg, rvith tlx'
luril ttrlncd orr its sidc arrd tlrr.alrn lirlLxirru tll'<rrrvttrrlc ol'
tbc blidgc, kr pxxlucc ar crrlriritt'h pi:urissirx)chrld. l'hi.
r4x'rrsqr thc licld ol <hrtrrrti<lxrssibiliticslo nrrrsicalcorrridcr'-
:rtirnlsitrstcl(l ()f l(.clrrricllurrrrtllirrt..
1-ht,strlc ol rvlitilg irr this A<lagiois:ur iltlnovis:rt(,r-\'\r(.1\-
irtg arltrnd a ploglcssiorrrrf rlrords. This rrls a corrrnronlilrrr
of rlr'itirrgart<lrr':rsnornralh rrotatt.dorrh rrith th<.clxrr<h(rr.,'
C('relli. \'ilnkli. ctc.) Ilxv gratclirl sc llc th:rt ts:rch rrrrrlt.
down his impnrvisatio ! Ilorvever'. our strle of Plaring nrust
retxin thc iDtprovisatory charactel despitt, the precisc rx,tt-
tion. I nornrally enc.ounrgenry studerrts firit b l)lay this nr(^'(-
 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
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trill to firrrrr irn t lalx)ntle (.ad(ncc.
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lirurth rrur ol prr:rctisirrg
this ntorenrcrrt:plar it rritlxrrrt rilrllto
and trr kr:rcltit'r'e lll th<. shalx.r and tortc <rrloux iur(l (.\l)rr('\-
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spc<'dsto slrrlx'thc phrust'sand rrill s<'nsitist'thr.r.ulto lroth
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car'ly instnrrDcnt errscnlbles ar(' lo\r' lx'ttcr ttblc t{) (tnrtx)l th('
lxrs'an<l to phnrse nrore nlearrin{fulh.)
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. l tl xr xl s. :r r xl
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inrpr'()\'isin{.orx.is li'clirr!: s()rr('\riirt l:rnrilirl. r;xrrtlrrt'orrs.
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of ou'sclf, artl thc l)cnr(\ ol tlris nrrrsicis,
in nl'opiniorr. prl'(.isch in thc dulunic rr.lltiorrsLiplrt'trrt't'rr
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ing lhrt.florr nxtur':llh :rnd \r'h('r'('isit chrr,rrirticirnd c(n)knt-
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901
 J .S . B A CH M A S T E RCL A S S

Ex,3

lluid enrotiorral thr.t'lds.

ltisr.cading (evel on nxrst rtcor<ls) oftht'last lrat, clt'ltirrg tt urrrnistrkabl<' 5/'l brtr'! (sce lir.3)

rchric l(n-|n.

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.
öarenrerter
^rl

Way Harlow,Essex
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