Rohan Joshi

Prof. Helgert
MUSC 648
6 October 2020 (Revised 9 December 2020)
Revised: BWV 1001: Differences between manuscript and published edition
1. “cantabile” marking in bar one in published score
2. Hairpins indicating dynamic change in published score
3. Dynamic markings indicating dynamic changes in published score
4. Sforzandi in mm. 15 (comparing manuscript and published edition)
5. Bowings: editorialized markings in published score
6. Fingerings: editorialized markings in published score
7. Tenuto and Staccato/Marcato (all over first movement) markings in published score
8. Indications of changing positions (string choice) – editorialized in published score
9. Slurs for phrasing (that are different than the manuscript) – the most controversial
addition in published scores
10. “cresc,” “espressivo,” and “tenuto/ten.” markings at mm. 10 and mm. 20 in published
score
I initially looked at both scores, and compared bar by bar what was different and varied.
Nearly every bar had some variation from the manuscript, and this edition was notable for having
profuse dynamic markings and accents. I also noticed editorial markings for playing style – such
as espressivo and tenuto, things that Bach did not include in his original works. The solo violin
sonatas and partitas have a very intensive performance tradition, and I listened to two of my
favorite recordings: one was historically informed, and one was quite Romantic. Neither of the
performances perfectly matched the editorial marks, but the Baroque performance had more
flexibility in its dynamics and was markedly more nuanced – more reflective of the minimal
markings put in by Bach.
Being a violist, I have referenced manuscripts for Bach’s solo works frequently. It is
immediately clear to any outside observer that published editions of his works are extremely
different from editor to editor. As such, it is important to compare the edition that you are
playing off with the manuscript. As a violist, I have worked on both the solo violin works
(transcribed) and the cello suites (also transcribed), and these pose a unique problem as some
editors choose to make differences in register for clarity on the viola. While this is not a negative
addition by any means, by changing Bach’s with such indications and markings, to me, is a form
of miscommunication – it changes what Bach was initially trying to communicate. While Anna
Magdalena (the most commonly used edition of the manuscript) does add slurring patterns, she
does not add any dynamic or tempo markings. I realized through this exercise that Bach is not a
dogmatic composer – and likely intended to make his works interpretative and varied through
each players’ performances. Editors, while in the right mindset, put their own interpretations on
his works. It is crucial as a performer to parse through different editions to not only note the
differences but to create your own interpretation (which I feel was Bach’s intent).