Professional Documents
Culture Documents
J. S. Bach
J. S. Bach
Big
Bach
Lutebook
Lute versions created by Clive Titmuss
Volume I:
BWV 995, 996, 997, 998, 999
Volume II:
Six Cello Suites BWV 1007--12
Volume III
Solo Violin Sonatas and Partitas
BWV 1000/1001, 1002, 1003, 1004, 1005, 1006/1006a
Updated November, 17 2009
"You've Been Gone So Long". You can almost hear the guffaws. He decided to play a little joke on
Weiss. Meeting him at the door, he said:
"Well to tell the truth I've been trying to play the lute a little lately. I used to fool around on it
when I was a Bub, but the instrument always confounded me--all those strings! I got a much
better instrument from my dear friend Hofmann in the Lautenkrankenstrasse, and I've been
completely taken with it. I've been working night and day on one of my old suites to play for you,
to see if you have any suggestions. But I'm still a bit shy with it, an old man trying to do something
new, you know, it's a bit silly. So if you don't mind I'm going to go into my Schreibzimmer, just sit
here and listen.
With that he repaired to his composition room and went behind an old curtain that he had
dividing the room to keep his family out. When Bach was behind the curtain, he was
incommunicado. That was the rule. After a bit of tuning and few odd notes and chords the most
fantastic uninterrupted veil of flawless lute-playing erupted. Weiss instantly recognized the
signature tune of every student violinist in Saxony--the Prelude of the E major violin Partita. It
was incredible, without error, perfectly in tune, not even a mis-fretted "n" (the twelfth fret of the
lute). That piece quickly concluded, Bach began playing something entirely new.
"Here's something I've just been working on" he said, peering out from behind the curtain, and
from his room came the now utterly familiar strains of the beautiful opening bars of Prelude, Fugue
and Allegro in E flat.
Weiss expected him to stop, but the flow never ceased. Ten minutes later, as the last notes died
away, Weiss was plainly aghast. After all, Weiss had spent a lifetime playing the lute, struggling
with its idiosyncrasies, the tuning, strings, the pegs, the frets, the sheer uncertainty and
unpredictability, a spider's web of deceit, a device calculated to drive musicians madhere, the
great genius of music, old Bach himself--had managed to master the instrument after only a few
months of effort. How was it possible? Weiss was dumbfounded. Finally the portly master drew
aside the curtain.
"How do you like my new toy", said Bach and motioned to a three-manual lute-harpsichord
built by his uncle.
Weiss, true to his name, turned the colour of a sheet, and let out a sigh: He had been fooled.
"Du lieber Gott", he exclaimed, "you nearly gave me a heart attack.
After that they had a little belt of schnapps (well, maybe a couple of them) and started talking
about the ongoing rivalry between the soccer teams of the Dresden Frauen-Kirche and the
Leipzigs St.Thomas Schule.
Weiss took a copy of Bach's new piece home to see whether he might be able to make
something of it. Just to confound his student Lobkowitz, who was as dense as a plank of maple,
Weiss scrawled Praeludio per il Liuto at the top of the page.
This will keep him awake for a year, he chuckled to himself, exhaling a cloud of pfeffermint
vapour. D-flat in the basshah!
He wandered down the path into the town, tipsily singing a ditty from his student days:
Ich bin ein diplomierte Lautenisten,
Ich trage immer neunzehn lautenksten
Later, Wilhelm Friedemann Bach wrote to a friend: "Something very special in the way of
music was heard on that occasion!"
Clive Titmuss
www.clivetitmuss.com
In making a tablature version of Bach's arrangement, I was struck by the frequent feeling
of the work simply being to large for the instrument. There are often more chord tones in
rapid two-voiced passages than a contemporary lutenist would play, for example. The
bass line is often busier that we would expect from his contemporaries, particularly in the
Preludes Presto and the Courante. Some movements succeed more than others: the
Courante and Sarabande seem not quite to equal their models, while the Allemande,
Gavottes and Gigue are in many ways more rhythmically interesting and lively.
In order to play the work in Bachs version, I made a fourteen-course German-style
theorbo and played the work for many years in its original key of G minor, despite the
fact that such an instrument is a re-construction of something not found among the
instruments of the period as far as we are aware. (My original transcription is here, as
BWV 995 in G minor, for those who wish to make comparisons, while the A minor
version is here as BWV 995/1011)
In making that transcription my work was shaped by Falckenhagen's frequent
transposition of the bass into a lower octave, especially in the first three movements. But
having played the work many times I became increasingly unhappy with the impression
of a hippo dancing in a tutu. The lightness and rapidity of articulation that Bach's dance
movements imply was not well served by Falckenhagen's anachronistic emfindsam
sensibility. His addition of numerous ornaments struck me as impeding the forward
momentum, and his adaptation of the Gigue and Presto of the Ouverture is clumsy. The
disjunct harmonic motion of the bass in modulating passages is poorly suited to the open
diapasons of the baroque lute, and Bach's original lines are often more too light-footed to
be effectively rendered in the lower octave of the lutes range.
There is the question of the pitch. It was common for harpsichords and single manual
instruments of the period (1740's) to have their lowest tone extending to FF or GG. The
compass of several of the other works mentioned above is often no lower than C. This is
true for BWV 996, 999later arrangements stemming from the 1740s, Bachs Leipzig
period, while BWV 1006a, BWV 997 and BWV 998 include A or A flat as the lowest
tone. So-called short-octave tuning may have been used on a smaller keyboard to achieve
this. Bachs use of these low notes is much more restrained than that found in
contemporary lute sources. The highest note in Bach's arrangement is c', a fourth below
the highest notes used by Weiss. Increasing the range upward by adding frets to a lute's
body is simple, but adding courses below is more than a simple matter of alterations to
the pegbox and bridge.
Simply adding a note (GG) to the typical 13-course D minor lute is not really a viable
design solution, since the fundamental pitch, string length and size of the entire
instrument needs to be considered. J. C. Hofmann increased the size of the bodies of his
lutes when he added two courses in the bass to his standard eleven-course lute design,
already larger than the eleven-course lutes of his father Martin.
Taking this into consideration, it seemed a better idea to start with a "clean sheet of
paper" approach, to transpose the work up a tone, keeping the original bass line in
principle, thereby raising the highest note to d. The alteration of pitch makes the bass
line in original form more under the control of the left hand, and therefore more
articulate. Some of Bachs dramatic bass line chromaticism (Prelude, Allemande, and
Sarabande) is also more easily rendered in the original octave.
I also occasionally thinned the keyboard-style texture by taking out chord tones which
seemed to hold the piece back, especially in the Presto and Allemande and Courante, and
by reducing doubling (especially those chord tones already sounding as octave strings).
The biggest change I considered making was the return to an opening closer to the cello
original, altering the voicing of chords and changing the rhetorical emphasis by placing
the low chord tones on the first beat. Thus the player will find that the opening has been
entirely re-cast. The cello original is more generous with string-writing phrase marks, a
valuable interpretive indication, while with the exception of the Sarabande, Bachs
transcription has only a few.
My transcription has few if any slurring marks in order to highlight the original phrase
marks as provided by the composer. The player may also add slurs ad libitum. The
tablature placement of some notes is clearly chosen for slurring purposes. Note how often
in this and other cello and violin solos, Bach slurs over the accented beat in order to break
up the groupings. This feature may also be observed in the music of French composers
such as Couperin, Mouton, De Vise and others. It is also worth noting that in the lute
music of Weiss slurs often occur in descending passages rather less than ascending.
Clive Titmuss,
Kelowna, August, 2009
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Praeludio con la suite da Gio. Bast. Bach aufs Lautenwerk (BWV 996)
Foreword:________________________________________________________
The Lautenwerk suite is one of the earliest surviving pieces from the composer in keyboard notation,
supposed to have been composed before 1712. Its style is in keeping with other keyboard works by
Bach written in this period, including the Toccatas BWV 910-916 and the Capriccio on the Departure
of His Beloved Brother BWV 992. An examination of those works will reveal many similarities to
BWV 996. Bach exhibited great stylistic growth in his lute-influenced keyboard style, culminating in
BWV 997 and 998 from the mid-1740s.
There is little reason to suppose that BWV 996 was written with the lute in mind. The inscription is
supposed to have been added by Johann Gottfried Walther, who prepared many keyboard sources of
Bach's works. The work gradually assumed its present spurious identity as Lute Suite No. 1
supported in print by the advocacy of influential German scholars Wilhelm Tappert, Albert Schweitzer,
Hans Neeman and F.G. Giesbert, who for more than a generation promulgated the concept of a Bach
who played and composed for the lute. BWV 996 was first published Leipzig in 1866.
In his article War Johannn Sebastian Bach Lautenspieler? (1964), Hans Radke attempted to reverse the
characterization of Bach as the composer of four lute suites whose organization is comparable to the
suites for violin, cello or harpsichord. But the image--as a composer conversant with the lute's idiom,
and its technical and musical potential as a vehicle of large-scale suite composition--has remained.
Beginning in the 1950s Walter Gerwig, Michel Podolski and later Eugen Mueller-Dombois and
Michael Schaeffer began playing Bach on the lute, and in the 1980s and 90s complete lute music
recordings on the lute began to appear, beginning with Narcisco Yepes. Subsequently, other lutenists
have weighed in on the matter with recorded versions, but so far nobody has really managed to dispel
the confusion about Bach and the lute.
A recently-written reference work, the dictionary-style Oxford Composer Companion guide to J. S.
Bach, edited by Malcolm Boyd, follows the precedent of the Bach-Gesellschaft and Neue Bach
Ausgabe, listing the suite, along with BWV 995, 997, 998, 999, 1000 and 1006a, as being among Bach's
lute works. A commendably even-handed assessment of the personalities, arguments and evidence
about Bach's lute-related repertoire in this volume by T. Crawford throws light on the traditional
classification.
Several makers now offer reconstructions of the Lautenwerk and recordings of Bachs music (including
BWV 996, 997, 998 and 999) have appeared on what is probably the intended instrument. The
Lautenwerk is a keyboard instrument with which Bach is closely associated. Bach certainly owned one,
(listed in his possessions after his death) and his uncle Johann Nikolaus made them. Its general
specifications are well documented by authoritative sources (Jacob Adlung in Musica Mechanica
Oganoedi, 1768, Johann Christoph Fleischer, 1718), though 18th century instrument has survived.
Bach also appears to me to have observed the strictures and exploited the advantages in his other writing
for the instrument, BWV 997, 998, possibly also 999 and 1006a. In these pieces one hears single-note
bass lines very far separated from the alto and soprano voices which they accompany, more freedom in
form (da Capo Fugues for example), inherent or implied block dynamic changes, a loosening of the
strict counterpoint familiar to us from Bachs other keyboard works, liberal use of rests in the left hand,
and occasionally striking dramatic and rhetorical devices usually found only in his later music.
If we adopt the view that the lute had only marginal influence on Bach's musical thinking in this suite
(and in several others), it frees us from the view that we don't understand the lute or its music
adequately, widely echoed or implicit in practical modern guitar editions of the piece. This was
probably the case when the work was included in the first Bach complete publication Bach Gesellschaft
(1936), or the Neue Bach Ausgabe, (V/10, 1982, T. Kohlhase ed.). The latter publication rationalized
the earlier speculative grouping by titling the revised publication with a uniquely German-language
compromise: Werke fr Lauteninstrumente. Normally a keyboard instrument would not be considered
to be in the lute family, whatever its tone-colour and stringing.
Since its initial appearance in the Bach Gessellschaft edition (in its E minor and A minor versions, the
latter transposition intended for the harpsichord) the suite has been widely published in many guitar
transcriptions, appearing first in Bruger's transcription for guitar/lute hybrid with additional basses and
subsequently in guitar transcriptions by Stingl, Wensieki, Bream, Bellow, Willard, Scheit, Teuchert,
Koonce, et. al. Julian Bream's foreword to BWV 996, for example, referred to "...bold figurations so
characteristic of the lute". None of these publications has discredited the widespread perception that
Bach wrote this piece and the other suites specifically for the lute, and in fact most of them do not
question this assumption. Paradoxically the piece seems easier to play on the guitar overall, partly
because of the suitable key, with a tuning dominated by fourths, partly because the guitar is welladapted to music dominated by the left-hand, unencumbered by open bass strings.
Though there are clear passages of luthe style (arpeggiated presentation of a fundamentally chordal
texture), particularly in the Allemande and Courante, the other movements are obviously outside
contemporary lute practice in their thick texture (including three and four voice counterpoint, parallel
thirds in the bass line) and uncharacteristic elaborations and ornamentation. The uncomfortable key, illsuited to the standard D minor tuning of the baroque lute, is the greatest obstacle to playing the piece.
D. Rhodes published possibly the first modern lute tablature transcription (self-published) of BWV 996
(transposed to G minor) in 1976 in which he speculatively argues for lute origins: "...the profundity of
technical skills which this excessively difficult work demands points to an extraordinary player, as we
know S. L. Weiss to have been..." The tablature transcription puts sections of the Gigue and Praeludio
into uncomfortably high positions on the fingerboard, in addition to transposing many bass notes into
the lower octave. His adventurous solutions include a change of pitch, single stringing and a mid-stream
re-tuning. But the piece in this form is difficult to perform even for experienced and technically
accomplished players.
In making this arrangement, I have adopted the view that the work is an early experiment written
specifically for the Lautenwerk, textually and stylistically within Bach's usual keyboard practice. The
piece is emphatically not written to imitate the lute, but freely uses textures current in the keyboard
traditions of the period which would have sounded convincing on an instrument intended to mimic the
sonority of the lute. The piece employs a thicker texture than was the contemporary lute practice, a
small compass of C' to c", standard keyboard ornament signs, a rhythmically active contrapuntal bass
line, including chromaticism and figuration impossible on the lute, and a key rare among lute
composers.
Without resorting to anachronisms, judicious, even radical, editing is necessary in order to make the
work playable on the lute within the confines of observed contemporary practice in a manner which I
see as being technically and musically feasible in performance. Where there are octave doublings of the
bass in the tenor or alto, I have eliminated them since they are taken care of by the octave stringing of
the lute. When the texture or disposition of notes made the piece unwieldy and unidiomatic, I have been
guided by contemporary models in finding a performable solution. What results is obviously a personal
answer to the problems, which lays no claim to authority by being faithful to the text.
Most importantly perhaps, I have moved the entire work to a tessitura more comfortable for the lute,
transposed to F minor. In keeping with the original, I have been conservative with the use of open bass
notes, transposing the bass into the lower octave only where necessary to intensify the effect of their
use, and maximizing the possibility of articulation by the left hand. I have set the piece for eleven
course lute, (with bracketed suggestions for 13-course realization) since the adoption of the thirteen
course lute in 18th century Germany can easily be dated to 1719, well after the composition of the piece.
For more details on this matter, refer to S. L. Weiss' dated pieces of the British Museum MS.
Particularly troublesome are the impossibilities of bass line of the Gigue and some chords in the
Passagio and Presto. Even if the notes are arranged in a more playable manner, the musical effect on
the lute is scrambled and frantic. In the Passagio I altered the mode of chord repercussion and in the
Presto removed parallel sixths and some doubling. In the Gigue, I adopted a similar procedure and have
reduced the bass line especially at the end to an essentially homophonic re-enforcement of the upper
voices.
The tuning of the sixth course to B flat was a common scordatura for the lute in the late 17th c. The
suites by Esias Reusner, found in his collections Delitiae Testitudinis and Neue Lauten-Fruchte,
provided a model for the transcription, ornamentation and chord disposition. An early F minor suite by
Weiss in the British Museum MS (copied into the Dresden MS) is another model, though the tuning is
conventional.
There seems to be little point in trying to accurately reproduce keyboard ornamentation on the lute.
Lute-style ornamentation may be added freely, including appogiaturas or trills, slides (or coules),
measured or arpeggiated separes, mordents, turns, the note-bending known to clavichord players as
bebung and idiomatic chord filling. The half cross found in the bass at the end of the Presto is used to
notate a rest, not normally found in lute tablatures of the period. For stopped notes the left hand is
simply lifted; for open ones, the thumb is used.
Clive Titmuss, Kelowna, August 2009
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e
Y
f f f
eY
e
e
e
e
gZ dW
f a
C
d d d
e
e
dX
a b
da
^
c
a
c
a
Ze
eY e
e
d d d d
b
d
b
d d d
c
c
c
dX
Xc
c
bW
dY
Wb
dZ d d
b
bW
b
b
b
41
X a b
b
Yc b
c
c
a
37
dZ
dY