JAVS Summer 2011

entry, and the bibliography entry under Graduate Students, Academics, and Professionals for the Bärenreiter cello edition edited by Bettina Schwemer and Douglas Woodfull-Harris. 4 The “Bach-Gesellschaft” (Bach-Society, organized in 1850) was an attempt at a complete collection of Bach’s opera. Publication was begun in 1851 and was completed in 1900 with 46 volumes. Volume 47 was added in 1926. The Suites for Violoncello, BWV 1007–1012, Band 27.1, were edited by Alfred Dörffel (1821–1905) in 1879. 5 Scordatura is an uncommon tuning of a stringed instrument, often used in the Baroque period. Bach used C-G-d-g for the fifth suite (instead of the normal cello tuning of C-G-d-a) to accommodate chords and provide more resonation possibilities. Many editors ignore the scordatura, some acknowledge the tuning but use the normal tuning anyway, and two editors (Rutledge and Rowland–Jones) include the scordatura tuning in their editions. 6 Whether the five-string instrument was a violoncello piccolo or a viola pomposa, the addition of the upper string “e” creates enormous performance difficulties for today’s cellists and violists. The manner in which the editor solves this problem offers different options in editions. 7 Conversations with Bruno Giuranna, Cincinnati, Ohio, June 16, 2010. 8 Sometimes spelled Lienicke or Linigke. 9 The term “resonation” refers to the continued and natural vibration of open strings after the music has continued. This is especially true of the open strings employed by Bach to provide, clarify, and underscore harmonic progression . Examples: Example a. J. S. Bach, Suite No. 1 in C Major, BWV 1007, Prelude; m. 1(Rowland-Jones edition).

The first g should ring until the second g Example b. J. S. Bach, Suite No. 1 in C Major, BWV 1007, Allemande; mm. 1–2 (Rowland-Jones edition).

The first d’ should ring until the second d’. The first g should ring as long as possible.

V OLUME 27 S UMMER 2011 O NLINE I SSUE 24