DOI: 10.36871/hon.202204053
Authors
D. Yu. Tatarkin
Russian State Specialized Academy of Arts, Moscow, 121165, Russian Federation
Abstract
This article analyzes the two final cello suites of the Bach cycle BWV 1007–1012 from the viewpoint of their original instrumental affiliation. The author conducted a textual study of the autograph of the Lute Suite g-moll BWV 995, which is considered to be the author's adaptation of the Cello Suite No. 5. The analysis of the nature of the corrections contained in the lute source made it possible to establish their compositional nature and to identify the manuscript itself as a non-calligraphic compositional manuscript, created in the process of composition. The article shows that the lute version of the Fifth Suite was created chronologically earlier than the cello version, and it is this version which is the primary source. The study considers which of the five-stringed instruments used in concert practice at that time, the Cello Suite No. 6 BWV 1012 could have been intended for, and argues for the hypothesis of a lost lute primary source of this work. The paper analyzes the reasons that forced Bach to disrupt the original plan and add two more non-standard cello suites to the four first extremely typed cello suites of the cycle. Finally, conclusions are drawn about the importance of referring to handwritten musical texts, first of all Bach's autographs, while working on a guitar arrangement of his cello suites in keeping with the composer's ideas.
Keywords
J. S. Bach, autograph, cello, cello suites, lute, lute suites, arrangement, transcription
