JAVS Summer 2011

F ROM THE E DITOR

approach to these works. This article is a must read, whether you need help in selecting the most appropriate edition for yourself or your students or for the useful notes accompanying the article. Andrew Filmer takes a new approach to the familiar Sixth Brandenburg Concerto. His investigation into the role that timbre plays in this work led to experiments in alternative instrumentation with a new solution: using scordatura violas to replace the violas da gamba. Along with Andrew’s detailed and thoughtful article, we are happy to include a video to accompany his research on the AVS’s YouTube channel at: http://www.youtube.com/user/am ericanviolasociety#p/u. As part of an effort to make more of Bach’s original music for viola more widely available, this issue also includes a chorale movement from the cantata Mein Herze schwimmt im Blut , BWV 199: Ich, dein betrübtes Kind for soprano, viola, and piano. The work is presented in its original version with a realization of the continuo part; just perfect for

playing with your favorite soprano and keyboardist. If you have not already seen our first Bach edition, be sure to look at the Sinfonia from the cantata Gleichwie der Regen und Schnee vom Himmel fällt , BWV 18, for four violas and continuo at: http://americanviolasociety.org/re

sources/scores/multiple violaensemble-music/. In our Alternative Styles Department, Nancy Wilson

Bach! When musicians speak the name of Johann Sebastian Bach, the reverence is unmistakable. We are often exposed to Bach at an early point in our studies, and many musicians spend a lifetime trying to fully comprehend his genius. Wherever you are in your musical development, this issue is sure to provide new information to you about Bach and the viola. Tom Tatton begins with familiar territory: Bach’s cello suites. His article reviews sixteen available editions of Bach’s cello suites transcribed for viola beginning with Louis Svecenski’s 1916 edition. Tatton’s chronological view illuminates how changes in performance practice and scholarship have affected the

provides an excellent introduction to the art of ornamenting Baroque music. Nancy gives an overview of the symbols and resources to help you add grace (and good taste) to your Baroque playing. Accompanying the article are two movements from Telemann’s Viola Concerto, ornamented by Nancy’s husband, David Miller. Rounding out our issue devoted to Bach, Carlos María Solare reviews several recordings of Bach’s suites. We hope that you enjoy our salute to Bach and the viola! Cordially, David M. Bynog JAVS Editor

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