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but the manuscript does not indicate the specific instrumentation. 13 Hoppstock, 2015: 7. 14 Hoppstock, 118, 116; Weyrauch was a lutenist who was a friend of Bach when he was in Leipzig; Leipzig, Stadtbibliothek Leipzig, Musikbibliothek. D-LEm Becker III.11.4, Faszikel 2. Bach-digital, accessed January 2, 2025, https://www.bach-digital.de/receive/ BachDigitalSource_source_00003303. 15 Hoppstock, 116. 16 Ledbetter, 2009: 265. 17 Fojas, 2017: 37. 18 Many scholars think Schouster was the bookseller, Jacob Shuster, and Bach probably made BWV 995 upon Shuster’s request, who needed more music to sell at his store; Ledbetter, 238-9. 19 Hoppstock, 11. 20 On lute, a course refers to the number of strings. Normally, a course comprised of group of two strings, except for the highest string. For example, a 7-course lute has total of 13 strings: 6 double strings at the bottom and one single string at the top. 21 Hoppstock, 9. 22 Ledbetter, 252-3. 23 Ledbetter, 255. 24 Davis, 2001: 424. 25 Brown, 2001. 26 Schröder, 2007: 33. 27 Schröder, 34-5. 28 Davis, 444. 29 Bandy, 2021: 275. 30 Bandy, 285-6.

Conclusion Although there is no historical example of a transcription from lute to a bowed string instrument, the many transcriptions from Bach’s circle in the other direction inspired me to continue this tradition. Indeed, Haynes is only the tip of the iceberg: countless transcriptions of Bach’s music were produced following his death, from Mozart’s transcription of The Well-Tempered Clavier for the string trio to The Swingle Singers’ Jazz Sebastian Bach — the possibilities are infinite. What do these transcriptions teach us? I believe historical performers should implement themselves with a creative mind and venture further to discover new possibilities using the old method. In this spirit, I view my viola transcription as part of a historical practice that can be revived by musicians today. I hope this article encourages others to imagine and expand their repertoire as well with their own transcriptions. Footnotes 1 A study of such boundaries specifically in the context of the seventeenth and eighteenth centuries violin playing can be found in Dorian Bandy, 2021. “Violin Technique and the Contrapuntal Imagination in 17th Century German Lands.” Early Music 49 (2): 275–91. 2 Boyden, 2001. 3 Riley, 1980: 167. 4 Riley, 181-3. 5 Mystery (Rosary) Sonatas [and Passacaglia] by Heinrich Ignaz Franz von Biber. See Dann and Sehnal 2001; Trattenimento musicale sopra il violoncello a’ solo by Domenico Galli. See Pyron and Lepore 2001. 6 I am only mentioning Bach since I am focusing on Bach’s music in this article, but numerous other composers, such as Handel and Geminiani, all did the same transcribing practice as Bach. 9 “Bach: Nouveux Brandebourgeois 7-12,” ATMA Classique, accessed December 27, 2024, https:// atmaclassique.com/en/product/nouveaux brandebourgeois/. 10 Walls, 2003: 125. 11 Wir müssen durch viel Trübsal , BWV 146.; Ich habe meine Zuversicht, BWV 188. 12 Other cases of the same type would be BWV 1000 and 1006a. However, we do not know who exactly made BWV 1000. On the other hand, the manuscript of BWV 1006a matches with Bach’s handwriting, 7 Ich liebe den Höchsten von ganzem Gemüte. 8 Vereinigte Zwietracht der wechselnden Saiten.

BIBLIOGRAPHY Bandy, Dorian. 2021. “Violin Technique and the Contrapuntal Imagination in 17th-Century German Lands.” Early Music 49 (2): 275–91.

Boyden, David D., and Ann M. Woodward. 2001. “Viola.” In Grove Music Online , edited by Deane Root.

Brown, Howard Mayer. 2001. “Intabulation.” In Grove Music Online , edited by Deane Root.

Dann, Elias, and Jiří Sehnal. 2001. “Biber, Heinrich Ignaz Franz von.” Grove Music Online, edited by Deane Root.

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