JAVS Summer 2011

There is no preface, and we have no indication of the sources used. This spacious and clean edition is lightly edited with bowings and fingerings. There are no suggestions regarding arpeggiation with the chords at the end of the second suite’s Prelude. There is no indication of scordatura in Suite No. 5. Suite No. 6 is in D major; there is no indication of the use of a five stringed instrument.

Bruno Giuranna (b. 1933). International recording artist, founding member of and frequent soloist with I Musici , professor at the Berlin Hochschule für Musik from 1983–98, International Chair at the Royal Academy of Music from 1995–96, frequent guest at the Marlboro festival, and

Artistic Director of the Padova Chamber Orchestra. Publisher information: Ricordi , E.R. 2667, 1962.

Although not indicated in the edition (there is no preface), Giuranna said he used a photocopy of the Anna Magdalena Bach manuscript and an unspecified violoncello edition to create this edition. His efforts were directed at providing material for Italian student violists after World War II. 17 This edition is not highly edited. Bowings and some fingerings are provided with excellent spacing for the performer’s own markings. Some dynamics and Italian musical instructions are included as well as a few notations regarding manuscript discrepancies. Suite No. 5 is written with normal tuning, but a brief explanation is provided regarding the original scordatura and indicating that some missing chord notes are not possible with normal tuning. Suite No. 6 is transcribed into G major. William Primrose endorsed this as “most satisfactory.” 18 Milton Katims (1909–2006). Milton Katims was a noted violist and arranger. He edited a large number of viola selections published by International Music Company, directed the Seattle Symphony from 1954 until 1976, and was the director of the University of Houston School of Music from 1976 until 1985. While at the University of Houston, he hosted the XI International Viola Congress in 1983. Publisher information: International Music Company , No. 3081, 1971. Katims used two main sources: a facsimile of the Anna Magdalena Bach manuscript and a copy of the Bach-Gesellschaft edition. The brief “Editor’s Note” explains Katims’s performance markings. This somewhat busy and cluttered edition includes Italian tempo markings both at the head and within the movements. Measures are numbered, and metronome markings are included, e.g.: Prelude to the first suite is marked (Moderato) (quarter note = 69–76), and approximate timings are offered for each movement. There are no indications of note discrepancies between sources. The Suite No. 3 Prelude reduces the original arpeggiation in measures 45–60 to chords (ex. 4) but includes this note: “In the manuscript the sixteenth notes and patterns in bar 44

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