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>Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models
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Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models
Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.
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机译：自巴赫于1720年左右开始创作作品以来，音乐家已为约翰·塞巴斯蒂安·巴赫（John Johann Sebastian Bach）的奏鸣曲和Partitas改编并改编为小提琴独奏，BWV 1001-1006。甚至是他的交响曲和颂赞曲。当时的表演者通常会通过装饰，即兴创作，动态，有节奏的诠释以及某些情况下音调材料的变化来个性化这些作品。正是本着这种精神，作者介绍了巴赫奏鸣曲编号的马林巴演奏版本。小提琴独奏，BWV 1001和奏鸣曲编号为1。 2：Grave，BWV 1003，基于吉他手和lutanists的演奏和抄录。之所以选择吉他和琵琶作为模型，是因为它们与马林巴琴的相似之处，以及吉他手和lutanists为巴赫的无伴奏弦乐提供了丰富的资源。他们的录音和演奏经常包括改编以适合其乐器的复音能力和声音特性。类似的方法同样适用于马林巴舞。因此，本研究概述了与拔弦乐器有关的巴洛克演奏实践，对巴赫无伴奏弦乐的已发行琵琶和吉他转录的分析，以及琵琶和吉他录音的转录和分析。然后，弹拨弦乐的艺术家和学者的方法被同化为这些作品的真实马林巴表演版本。
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