JAVS Summer 2011

• Williams, Amédée Daryl. Lillian Fuchs: First Lady of the Viola. 2nd rev. ed. New York: iUniverse, 2004. This is a must-read for violists. This quick read is packed with anecdotes, experiences, and working relationships that paint a portrait of this remarkable “Lady,” the “First Lady of the Viola.” Chapter 7 deals with “The Bach Suites.”

STUDENTS AND AMATEURS

• Castleman, Heidi. “Do I Need a License to Play Bach?” Journal of the American Viola Society 6, no. 3 (Fall 1990): 3–12. A must-read for those working on any of the Bach suites; a practical guide for performers. • Rowland-Jones, Simon. Preface to Six Suites for Solo Violoncello BWV 1007–1012: Transcribed for Viola Solo , by J. S. Bach. London: Edition Peters, 1998. The extensive “Preface” as well as the “Critical Commentary” are invaluable for violists performing any of the Bach suites. They include general background, performance practice suggestions, and references; entirely well-documented.

GRADUATE STUDENTS, ACADEMICS, AND PROFESSIONAL VIOLISTS

• Bylsma, Anner. Bach , the Fencing Master: Reading Aloud from the First Three Cello Suites . 2nd ed. Amsterdam: Bylsma Fencing Mail, 2001. This book contains thorough analyses of suites 1–3 from a unique perspective. It is written as if the reader were listening to Bylsma’s thoughts and ideas about each movement. We are included in the thought process of this well-trained musician! Purchase includes a facsimile of the handwritten copy by Anna Magdalena Bach. • Bach, J. S . 6 suites a violoncello solo senza basso, BWV 1007–1012 . Edited by Bettina Schwemer and Douglas Woodfull-Harris. 3 vols. Kassel, Germany: Bärenreiter, 2000.

Critical volumes of importance for violists include the text volume with substantive historical information and the facsimile volume, which includes the five important

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