JAVS Summer 2011

Paolo Centurioni (b.1934). Centurioni is a teacher, chamber musician, performer, and recording artist. He performed with I Musici for several years (1956–58 and 1970–79) and served as principal viola of several prominent Italian orchestras including Pomeriggi Musicali in Milan. He performed with the Quartetto de Perugia and the Trio d’arche di Roma. His teaching posts

have included the Accademia Nazionale di Santa Cecilia in Rome. Publisher information: Bèrben Edizioni musicali, E. 4553 B, 2001.

The brief Preface, in both Italian and English, indicates the sole reference was the Anna Magdalena manuscript. This is a “working edition” and does not propose to be a “critical edition.” The music is of small font, but with spacious staves. The measures are numbered, and the music includes adequate bowing and fingering suggestions. The Prelude to Suite No. 2 includes two suggested realizations. No mention is made of the scordatura in Suite No. 5. The Preface indicates that Suite No. 6 is written for a “5 string ‘violoncello piccolo’ and is therefore transposed to G Major.” 26 Christine Rutledge (b. 1961). Rutledge is a recording artist, teacher, editor, authority on Baroque performance practice, and publisher. She taught at Notre Dame University in Indiana and is currently Professor of Viola at the University of Iowa. Publisher information: Linnet Press Editions (three-volume set), LPE 1, 2, and 3, 2007. This edition is a three-volume set: Volume I (edited and marked), Volume II (facsimile copy of the Anna Magdalena Bach manuscript), and Volume III (an unmarked copy of the Anna Magdalena manuscript in contemporary published notation). Paul Silverthorne remarked, “If my students want a viola edition, I either give them a simple transposed version with no bowing indications plus a copy of Anna Magdalena’s manuscript for them to interpret themselves, or I recommend that they buy the Peters edition edited by Simon Rowland-Jones.” 27 Rutledge’s edition well satisfies Silverthorne’s first alternative. The Preface to Volume I names the sources as Anna Magdalena Bach’s copy, the Johann Peter Kellner copy, and the two anonymous copies (Westphal and Traeg). The Preface also discusses ornaments, double stops, multiple-voice performance practice, the dance movements, and recommended source material. This well-spaced, lightly edited version includes measure numbers, justified bowings as found in the manuscript(s), suggested bowings (marked with hyphenation), as well as some fingerings. For ease, page turns are carefully accounted for with blank pages. Two different suggested realizations are offered for measures 59–63 in the Prelude of Suite No. 2. (exs. 5–6). Suite No. 5 uses the scordatura tuning with clearly marked fingerings. Suite No. 6 has been transposed into G major. Note discrepancies and performance suggestions are given throughout. Volume II is a facsimile of the Anna Magdalena Bach manuscript. Although fraught with difficulties, “the Anna Magdalena Bach manuscript is considered to be the

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