DOI: 10.36871/hon.202203006
Authors
D. Yu. Tatarkin
Russian State Specialized Academy of Arts, Moscow, 121165, Russian Federation
Abstract
This article is devoted to the textual analysis of the arrangement of J. S. Bach cello suites for guitar.
Japanese composer and conductor Kojiro Kobune was the first to transcribe the entire cycle.
The purpose of the article is to reveal the extent of Kobune's "interference" in the original text
of the suites, to emphasize the author's successful arrangements, as well as to identify discrepancies
with the original. The paper analyzes the reasons why Kobune made certain decisions,
modifying the text of the original. Kojiro Kobune's immediate predecessors, the guitarists who
made significant contributions to the history of the arrangements of Bach's music for guitar, are
noted. The research focuses on the problems faced by the author of the transcription, in particular,
the appropriateness of adding tempo notation and deviations, dynamic indications, strokes,
the character of performance, bass and chord notes to the original musical text.
Finally, the conclusions are drawn about the need for a guitar transcription of the cello
suites, which would be as close to the original as possible, relying on currently available
handwritten sources, transcriptions, and based on the principles of a historically informed
approach which would preserve all elements of Bach's musical fabric — the unique musical
graphics, the voice science, the register of the original and the chords' arrangement.
Keywords
J. S. Bach, Kojiro Kobune, cello suites, guitar, arrangement, historically informed approach
