Tilman HoppstockBach’s lute works from the guitarist’s view Vol. 1 Suites BWV 995 / 996 Yours Gustav Leonhardt Amsterdam. 2nd April 2009 . With admiration for your accomplished effort and best wishes. Hoppstock. I read your text on Bach’s music for lute with great interest.Comment by Gustav Leonhardt Dear Mr. I wish your publication all the success it deserves and hope that numerous guitarists will occupy themselves with the content of this meticulously written book. ... .. . . . .. . . .. . .. . . . . ... .. . .. . . ..Polyphony ..Technique of structure /articulation /cello version . . .. . . . .Questions of transcription Courante . . . . . ..Character and tempo - Gavotte I . . . . . ... ... .. . . ... .. . . . . . . . . .. . .. . . . .. .The cello version Brief analysis .. . . .General remarks . .. . .. .The bass notes . .. . . ..Transcription and reading Tempo relations (BWV 995) . ... . . . . . . . ... . ... . .A harmonic cosmos . . . ....Pairung . . . .. . . . . ... ... . .. . . . . . . 126 General remarks . . . . .. .. . .. . . . . . . .Attempt at a Fugue .. . . . ... . . .. .. . . .. . ..rests . . . . .. . .. . . . . .. . . . . . . . . .. . . .. ... . . . . . ... 111 Types of Sarabande .. .. . . . . . . . . .ornaments Gavotte II . . . . . . .. . . . . .Rhythmic deviation Allemande . . . .. . .. . . .. . . . .. . . .Articulation . . . . . .. . .. . . .. . .The suite on the guitar . . . . . .. . . . . .. . . ... . . ... . . . . .. . ... . . . . . . . .. .. .. ... . . . . . . . .. .... . .. .. . .. ... . . . . . . . .Articulation/Legato playing . . . . . .. . . .. .. . . . . . 51 Short summary . .. ... . .. . . . . . . . . .The Tablature . . . . . . ..Slurs or campanella .. .. .. . .. . . .. .. .. . . . . .. . . . . .. . . .. . . . . . . .Verticalisation of thirds . .. .... . . .. .What is the correct tempo? . . . . . . . .. . . . . .. .. . .. .. . . . .. .... . . . . . .The Cello version Transcription and reading . .. . 8 Brief digression on Bach’s ornamentation .. . .. ... ... . . . . . 43 The model: version for cello . . . .The cello version .. . .. .. ... . .. . .. . . .. . . . . . ..Fingerings Gavotte I & II . . . .The lute tablature Instrumentation .. . . . . . . .. . ... ... . . . . . . .. . . . . .. . . . .... . . . .. .. . .. . . . . . . . . .. . 40 SUITE BWV 995 History of origins .. . . . . . ...... . . . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . . . ...... . . . . . .. . . .. . . . . . . . . . . . . . . . .. . . . ... . . . . .. . .. . . . . .. . .. . .. . . . . . .. . . . . . .. . . .The cello version The Tablature ... .. . ... .. . . . . .Melody and articulation .. . . . . . . . . . . . .. . .. . .. . .. . . .The dramaturgy in harmony and structure Allemande as recitative . . . .. . . . . . .. .. . . . .. . . .. .. . . . . . .. . .. . . .. 144 Harmony and segmentation . . . 137 Charakter . .Movement structure and notation Dynamic and legato playing . . . . . . .. .The lute version .. .. . ... . . . . . . .. . . .. . . . . . . . . ... . . . . . .. . . . . .. .. . . .. .. . . . . . . . . .... . . . . . ... . .. . . .. . 6 Introduction .. 158 ... 104 The Harmony .. . .. . . . . 3 Preface . .. . . . . . .. . .. . .. . ... . . . . . .. . . . ... . .. . . . . . .. . .. . . . ... . .. . . . ... . . . . .. . . . . .... . . . . . .. . . ... . . . . . . 88 Charakter/rhythm/cello version . . . . . . . . . . . . . . .Further arrangements Prélude (first part) . ... . .. .Final chord/initial chord? Prélude (Tres Viste) .. . .Musical editions .. . .. . .. .. . . . . . . . . . . . . . ... . . .. . .. . . . . . . . . . ... . .. . . . . . .. . ... . .. . . . . ... . . . . . . . .. . . ... . .. . . . .Articulation and polyphony . . . . . . . .. . . . . . . .. .. . . . . .. .. .. . . ..ornaments Gigue . . . ..A fugue or not a fugue?/ Polyphony .. . . . . . . . . . . . . . . . .... .. . .. 62 The theme . . .. .Charakter and tempo . . . . . . . . . . . . . . ...Articulation and tempo Polyphony . . . . . . .. . . . .. . . .... . .. . . . . . .. . . . . . . . . 17 Tempo relations ... . .. .. .The rests .. . .. ... .. . . . . . . . .. . . .. . . . ... . . . . .. . . . . . .. . . . . . . .. .Harmony Transcription/Fingings . . . ... . . . . .4 CONTENTS TABLE OF CONTENTS Note from Gustav Leonhardt . . .. . . .. . . . . . . . . . . . . .. . . . . . . . ... . .. .Ornamentation and rhythmic notation . . . . .. . . .. . .. .... . . . . . .Ornaments Sarabande . . .. 128 Harmony and structure .. . . The execution of the rhythmical insertion depends on the context of the melody notes. the possibility of filling the space between falling thirds or sequences of thirds with appoggiaturas is frequently mentioned.e. p. 438). the composer notates instead of a simple version. In his book “Bach Interpretation” (5. œ #œ œ ‹œ œ œ œ œ #œ œ Œ Œ œ j #œ ˙ ˙ ...a ‘tripletisation’ of the thirds: 3 œ #œ œ ‹œ œ 3 œ œ œ #œ œœ œ Œ œ Œ j #œ ˙ ˙ The bars 1 to 8 (i.34 Bach’s ornamentation Appoggiaturas (passing notes) with falling thirds In all Baroque instructive textbooks. There is no reason why a little imagination would be out of place here. the rondo theme) – occasionally slightly varied – appear a total of six times. Passing notes can also be inserted between individual thirds for a more expressive character. bar 3 (autograph): Possible variants: œœ œ œ œ œ œ œ œ œ ˙ œ 3 œ œ ˙ 3 œœ œ œœœ œœœ œ œ œ ˙ œ œœ œ œ œœ œœœ œ œ œ ˙ œ œœ œ œ œ œ œ œ œ œ œ œ ˙ œ . Paul Badura-Skoda illustrates a wonderful example of Bach’s fantasy and flexibility with the aid of two versions of the well-known Invention BWV 772: Invention C major BWV 772 (early version): # ≈ œ œ œ œ V c œœœœ œ œ œ Ó ≈œœœœ œ œ œ Invention C major BWV 772a (last version): m œœœœœ œ œ œ œ œ œ œ œœœ œ œ œ œ Œ ≈œ œ 3 3 m 3 œ œ œ œ œœœœœœœ œ œ œ ≈ œœœ œ 3 œ œ œ œ œ œœ V c œœ œ œ œ œœœœœœ œœœœœœœœ œ œ Œ Ó ≈œ ≈ 3 3 # m m 3 3 Bar 23 in the intabulated version of the Sarabande from the Suite BWV 997 displays a similar variant: (copy by Kirnberger + Agricola): (Intabulation by Weyrauch): œ œœ œ œ œ œ œ #œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ #œ #œ œ #œ œ œ œ (8) (8) (8) œ Œ œ In bar 91 of the Gavotte en Rondeaux from the Suite BWV 1006a.. Gavotte en Rondeaux from BWV 1006a. 52 BWV 995 . H œ œ œ #œ œ œ E œ œ œ œ. œ œ a 9 V œ. œ œ..Linear Structure HARMONIC FIELDS A minor Vc œ ˙ a œ œ œ œ œ œ œ #˙ ˙ E œ œ œ ˙ ˙ a œ œ œ œ #œ œ œ E œ n# œ œ œ A chords: V C œ œ. œ œ œ œ.Prélude 1 Prélude . œ œ œ œ œ. . œ œ œ. œ œ. œ œ #œ. œ ˙ œ œ œ œ œ œ . œ additional tension because of change between E major and E minor SEQUENCE FIELD E major/E minor 5 E major/E minor ˙ V œ ˙ ˙ a œ œ #œ #œ œ ˙ ˙ E œ e œ #œ ˙ œ. œ œ J œœœœœœ œ œ #œ #œ œ #œ œ œ. œ œ œ œ œ #œ ˙ ˙ A œ œ œ œ ˙ ˙ ˙ d œ #œ œ #œ œ œ œ œ E œ 5 V ˙ œ œ J œ œ œ œ œ. J œ. œ # œ. œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙ J œ œ œ œ œ. œ #˙ J (D minor) 3 A minor œ V ˙ ˙ ˙ d œ œ œ. œ # œ . Ó ˙ w Œ ˙. The damping of the bass notes should be performed more in the manner of a fade-out. bars 10 and 12) would in contrast weaken the principle beat of the bar. dependent on the underlying tempo). œ œ œ œ œ œ œ. it is hard to make a decision. As an exercise. The following musical example (bars 1-14) of a fictive version for organ presents us with the Prélude as an expansive monumental tonal architecture in which the harmonic cosmos somewhat eclipses the gestural aspect of the versions for cello or lute: 4 j M j œ. œ n # ˙ œ œ œ œ ˙ Ó ˙ œ ∑ #w ∑ w ?# C w w w w ∑ #C ?# C ∑ ∑ ˙ ˙ j œ. 21 and 22). . This method of notation is in no way instrument-specific in Bach’s music. Final chord – initial chord? Should the E major chord which is already included in 3/8 time be considered as the final chord of the introduction or the beginning of the next section? “Mr. it is advisable to give the principle beat slightly less accentuation.. as in this case the abrupt damping of the bass notes would be extremely conspicuous and perhaps even distracting. above all if there is a delayed bass note in the lower octave on the second crotchet beat of a bar (bars 7. as this type of chord divides not merely a single thought but also the complete half of a movement. 12-14. Œ ˙.”) would perhaps in this case tend towards the latter. 10. I do however not advocate that all bass notes notated as a crotchet should actually be played dogmatically short: there is also a certain degree of tolerance (perhaps up to a quaver value. emphases on the relevant first beats of the bar are more perceptible. œ œ Œ œ œ ˙ œ œ œ œ œ # œ . but to play it in the new tempo of the Tres-Viste section. I also think that the pulsating element of heavy/light beats would not be particularly reconcilable with the somewhat static tone of the organ. This permits the retention of a certain degree of finality at the end of the introduction but also provides new momentum for the upbeat of the new section. In the case of this Suite. œ ˙ ˙ #˙ w w Œ ˙. If the bass notes are sung in accompaniment. In the case of the introduction to the Prélude.Prélude 61 instrument through greater attention to the damping of the bass notes. I recommend imagining the movement at double the speed. Authentic” (I am borrowing this figure from Anner Bylsma’s book “Bach.. œ œ. 9. the fencing master. According to this premise. œ œ œ & ˙ œ œ œ # œ # œ œ œ œ œ œ œ œ œ ˙ .BWV 995 . Let us therefore imagine that the composer had in this case actually notated the pedal points as long sustained notes and also “extended” all the notes of chords to produce a completely different tonal quality more suited to the tonal qualities of the instrument. the so-called transition chords which frequently form both the culmination and beginning of the next section are customarily oriented towards the subsequent phrase. It would however be interesting to speculate whether he would have notated this movement differently for organ. According to the Baroque sense of taste.. The prolongation of the note (see above example. 16-19. the pulse-like structure of the movement becomes clear. this undoubtedly gives rise to interesting opportunities for discussion generating a variety of opinions. w I am entirely convinced that Bach has always attempted to provide a guideline for the interpretation of his works through the notation of note values and rests. Here are three fictitious examples: m From bar 80. œ œ œ œ œ œ œ œ œ œ œ œ From bar 80.. (15) Lute. 16 fictive ending a): #œ œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ #œ #œ œ #œ œ œ ‰ œ #œ #œ œ #œ œ œ ‰ ≈ œ #œ #œ œ #œ œ œ ‰ ≈ œ œ œ œ #œ #œ œ œ œ œ tr. what we see there is Bach at his most idiosyncratic. Now we will observe what Bach does with the version for lute and notice.. followed by its dissected polyphonic “translation”: m 15 Cello. that the already existing bass structure in the cello version has been doubled here.BWV 995 . we will focus exclusively on the bars 81/82.. First of all.. As they display such great similarity. These two passages are structurally identical: bars 81/82 and 109/110. œ m Cello. This is extremely uncommon! Something quite different would perhaps have been anticipated from a comparison with other endings customarily utilised by Bach. fictive ending b): œ œ #œ #œ. . here is the version for cello. fictive ending c): ≈ œ œ œ #œ #œ œ œ œ . œ œ œ œ (8) œ From bar 80. from bar 80 (dissected structure): : œ Here we can recognise that the foundations for bass line as the basis for the harmony had already been laid down in the version for cello.Tres Viste 71 This fairly inconspicuous set of parallels is however not comparable with two passages in the Tres viste movement. ab Takt 80: #œ œ œ œ #œ œ #œ œ œ œ #œ œ #œ #œ œ #œ œ œ #œ #œ #œ œ œ. œ ‰ œ œ œ œ œ #œ œ œ ‰ #œ œ œ œ. from bar 80 (original version): #œ œ œ œ #œ œ œ œ œ #œ #œ œ #œ œ œ œ ‰ ‰ J œ œ œ œ œ #œ œ œ œ œ œ œ œ . The movement subsequently develops into a Neo-Romantic display of fireworks.48) ∑ 3 &b b 8 Fuga ∑ ∑ ∑ 5 ∑ p ? b 3 ‰ ‰ œ œ œ œ bb 8 J espressivo 8 b &b b ∑ Œ œ œ œ œ œ œ n œ n œ œj œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ J °* °* ° * œ œ œ œ n œ œ œ œ œ œ œ # œ œj œ n œ œ œ n œ œ œ œ œ œ œ nœ J pœ senza cresc. ° * œ œ ° œ J nœ nœ nœ nœ ° * ° ° ° j j j œ nœ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ J œ œ œ J œœ œœ ° œ œ œ œ œ œ n œ . œœœœ œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œj J #œ œ b ° °* °* 15 nœ œ œ œ œ œ œ nœ J J °* °* #œ nœ œ œ œ œ œ nœ œ œ nœ œ œ œ œ b œ œ & b b #œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ J J sempre p -j -j œ œ #œ j nœ #œ œ ? œ œ œ œ œj œ n œ œ ?œ œ œ œ ? bb œ & œ & œ nœ œ nœ b œ J * ° * ° ° ° ° * * -j 20 j œ œ œ bb ? nœ œ œ œ œ œ œ œ œ œ œ œ œ œ J &b œ œ œ œ œ œ œ œ & œ œn œ œ œ j ? bb œ & œ œ ? b œ J ° 25 b ‰ &b b œ œ œ œ œ J ? bb œ b œ. The second entry of the theme is already answered by a thematic counterpoint in stretto and Bach’s original third entry (bars 21/22) is made to seem like a fourth voice due to the prior insertion of an additional entry (bars 15/16).82 BWV 995 . Leopold Godowsky. œ œ œ œ œ œ œ œ œ œ œ œj œ J œ ° * ° ° * ° ° * .Tres Viste Leopold Godowsky (1870-1938) pulls out all the stops of pianistic virtuosity in his version of the fugue. Allegro espressivo (Tres viste) from the Suite BWV 1011: 19 b Allegro∑espressivo ∑( q . ° j œ œ °* œ œ œ œ œ J œ œ œ œ œ œ œ œ J œ. = 44 . J J œ . œ. œ œ .. œ #œ œ œ œ œ œ œ œ œ œ #œ J hin . ?# & & # # f ?# " œ œ J f ‰ ≈ œ œ.. J J Œ Œ œ J zu . & ‰ ≈ J œ œ œ œ œ œ f Œ Œ ‰ ‰ ‰ œ ≈ J œ.. œ œ #œ œ œ œ ˚ ‰ ≈ œj œ . œ. œ œ . œ. B# ‰ ≈ J B # ‰ ≈ œ œ.180 BWV 996 . œ & œ. B# ‰ ≈ œ J ˚ B # ‰ ≈ œj œ . J Nie ! Oralio œ œ. ≈ œ J œ ≈ J ˚ ≈ # œj j ≈ # œ˚ œ. f j œ ‰ œ J f œ œ J ‰ J f j j œ ‰ œ f j ‰ j œ œ f œ Œ J ‰ . # & ‰ ≈ J # œ œ. œ œ œ œ . œ œ f tun? So geh hin-fort! j ‰ ≈ œ˚ œ . # j & œ. œ #m. œ œ J Oralio ˚ j ˚ j j j #œ . j ?# ‰ ≈ ˚ œ œ. & # nicht! F œ œ œ œ œ œ œ œ œ #œ J ∑ ∑ F F œ œ n J.Preludio (Passaggio) 9 # œ œ. œ œ œ œ. œ œ Più Lento f Œ Œ Quindalinda ‰ ‰ œ œ nœ œ œ œ œ œ œ.fort! Œ Œ Œ Œ Œ Quindalinda œ œ. œ œ ˚ ˚ j nœ œ œ œ œ œ #œ œ œ che So geh Ich wei Œ Œ Vivace ‰ j ≈ ˚ œ œ ˚ j œ ≈ ‰ #œ œ œ œ œ œ œ #œ œ #œ œ œ Œ Œ Molto Adagio 11 # & Œ Ó j # ‰ ≈ ˚ œ.. J F Oralio So tu F Più Lento ®n œ œ œ # œ . œ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ ‰ ‰ j œ œ œ J j œ œ J j œ j œ œ œ ‰ J œ œ œ œ Œ Œ Œ Œ Œ Molto Adagio Quindalinda es doch œ ‰ ® J nœ J p dolce œ œ œ ?# j œ ‰ #œ œ œ ‰ J ach wüsst ich nur œ œj œ . 280 BWV 996 .Faksimile Gerber .