JAVS Summer 2011

Svecenski, Louis, ed . Johann Sebastian Bach: Six Suites Originally Written for Violoncello Solo, Adapted, Revised, and Fingered for Viola . New York: G. Schirmer, 1916. Vol. 1278. Wiener, Stéphane, ed . Jean-Sébastien Bach: Six suites pour violoncello transcrites pour alto . Paris: Gérard Billaudot, 1990. G 4063 B and G 4064 B. There are other editions—undoubtedly editions unknown to me. Those selected for inclusion here share most or all of these characteristics: they are easily available, in popular use, include all six suites (excepting Primrose’s edition), and include understandable script, instructions, and written notes (primarily but not necessarily in English). For historical accuracy, the first viola edition of the Bach Suites was most likely by Hermann Ritter (1849–1926). His edition included the first four suites published c. 1885. 32 For pedagogical purposes, it should be noted that Suite No. 1 is included in Suzuki volumes 5 and 6. Volume 5 includes the Prelude, Courante, and Gigue; Volume 6 includes the Allemande and Minuets (the Sarabande is not included). These are edited by Doris Preucil, published by Summy-Birchard, and distributed by Warner Bros. Publications. Thomas Tatton is a recently retired string specialist with the Lincoln Unified School District in Stockton, California. Formerly violist and director of orchestras at Whittier College and the University of the Pacific, he holds a D.M.A. from the University of Illinois. He was president of the American Viola Society from 1994 to 1998 and recently served as the vice-president of the International Viola Society. Notes: 1 William Primrose, preface to Five Suites for Viola, by J. S. Bach, ed. William Primrose (New York: Schirmer, 1978), 3. 2 We are in the midst of the third publishing revolution: The first was the invention of the printing press around 1455 (printed music came shortly after Gutenberg’s famous bible). The second was the establishment of music printing companies that accompanied the “age of enlightenment” and the “rise” of the middle class—Breitkopf (1719), Schott (1770), and Simrock (1793). Now we are engaged in the third wave—computerized “downloads” and printing “on demand.” My recommendation regarding the Bach Suites: with the varying quality of edited material available, readers are well advised to seek a publication that meets their specific needs and interest level. 3 Although scholars cannot identify the creators of the two “anonymous” manuscripts, we can identify with confidence those who held each copy; one was held by “Johann Christoph Westphal” (JCW) and the other by Johann “Traeg” (T)—see footnote 23, the Stéphane Wiener

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