Towards_a_Performance_History_of_Bachs_Sonatas_and_Partitas_for_Solo_Violin_Preliminary_Investigations.doc...

8/13/2019 Towards_a_Performance_History_of_Bachs_Sonatas_and_Partitas_for_Solo_Violin_Preliminary_Investigations.doc

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Published in Essays in Honor of László Somfai: Studies in the Sources and the Interpretation of MusicLanham, Maryland: Scarecrow Press, 2005: 87-108

Towards a Performance History of Bach’s Sonatas and Partitas for Solo Violin:

Preliminary Investigations

Dorottya Fabian (UNSW)

Nowadays ach!s Si" Sona#as and Par#i#as $or solo %iolin &'( 1001-100)* are re+arded as

#ouchs#ones o$ any %iolinis#!s #echnical and musical ma#uri#y his has no# always been #he case

.n #his /a/er . se#ch #he /er$ormance and rece/#ion his#ory o$ #hese com/osi#ions re/or#in+ on

ini#ial obser%a#ions o$ wri##en documen#s, %arious edi#ions and sound recordin+s he ma#erial a#

hand is lar+e &see number o$ edi#ions and sound recordin+s a%ailable in //endices 1-2*

here$ore #he /resen# discussion is limi#ed #o ma//in+ ou# maor #rends and hi+hli+h#in+

si+ni$ican# issues1

Origin, Reception, Editions

/ar# $rom sur%i%in+ manuscri/# sources, amon+ which ach!s au#o+ra/h da#ed 1720 is #he mos#

/recious, our $irs# record o$ #he /ieces comes $rom #he middle o$ #he ei+h#een#h cen#ury 2 3P4

ach men#ions #hem in his obi#uary o$ his $a#her, /ublished in #he las# %olume o$ Loren

3hris#o/h Miler!s Musikalische Bibliothek in 1756 e s#resses #ha# #he wors demons#ra#e how



3hris#o/h Miler s Musikalische Bibliothek in 1756 e s#resses #ha# #he wors demons#ra#e how

#he %iolinis#!s /oly/honic #echni<ue I ra#her #han as su/reme com/osi#ions in #heir own ri+h# I

remained s#ron+ $or a lon+ #ime his is e%idenced in #he sub#i#le o$ @erdinand Fa%id!s 1862-;

edi#ion which reads: 9@or use a# #he Lei/i+ 3onser%a#oire J 6

Since abou# #he middle o$ #he #wen#ie#h cen#ury, howe%er, #he o/inion has been s#ren+#hened

which holds #ha# #he Solo desi+na#ion in #he #i#le indica#es concer# /ieces5 ach researchers ha%e

also been /oin#in+ #o con#em/orary %ir#uoso %iolinis#s ac#i%e in Fresden and 'eimar, such as

ohann Paul %on 'es#ho$$ &1)5)-1705*, ohann ?eor+ Pisendel &1)87-1755*, and ean a/#is#e

(olumier &ca 1)70-1728*, and #o similarly /oly/honic com/osi#ions $or %iolin by einrich .+na

@ran %on iber &1)66-1706* and #he Fresden cour# %iolinis#, ohann acob 'al#her &ca 1)50-

1717* or e%en Pisendel himsel$ @rom ach=s immedia#e circle, @ran enda &170E-178)* who

wored in #he Prussian cour# o$ @rederic #he ?rea#, should also be men#ioned enda was $ond

o$ /layin+ #he /ieces and in#roduced #hem #o his /u/ils mon+ #he bes# o$ #hese were @riedrich

'ilhem Kus# &17;E-17E)* and ohann Pe#er Salomon &1765-1815* who 9/layed a maor /ar# in

ee/in+ #he ach #radi#ion ali%e) 3on#em/orary records in$orm us, $or ins#ance, #ha# Salomon

/er$ormed #he /ieces on se%eral occasions e also had a ey role in dissemina#in+ #he wors

ou#side ?ermany, es/ecially in Paris and London a# #he #urn o$ #he 18

#h

cen#ury .# is liely #ha#his /er$ormances in$luenced #he inclusion o$ #he @u+ue mo%emen# $rom #he 3 Maor Sona#a in#o

ean a/#is#e 3ar#ier!s L$%rt du &iolon /ublished in 17E8 //aren#ly 3ar#ier ob#ained a co/y o$

2



'hile in #he ei+h#een#h-cen#ury #he +eneral o/inion was #ha# i# would be im/ossible #o add an

accom/anyin+ /ar# #o #he wors, durin+ #he nine#een#h-cen#ury #his chan+ed hen i# was

belie%ed #ha# #he /ublic needed an aid #o $acili#a#e #heir unders#andin+ o$ #he music and saw #he

solu#ion in /ro%idin+ accom/animen# #o #he Solos he resul# o$ #his was #he /ublica#ion o$

innumerable #ranscri/#ions as well as newly com/osed /iano accom/animen# $rom #he 1860s

un#il #he #urn o$ #he cen#ury8 he mos# $amous o$ #hese are #he accom/animen#s o$ Mendelssohn

&1860* and Schumann &1856* and #he #ranscri/#ions $or /iano alone, es/ecially o$ #he 3haconne

$rom #he ' minor +artita, by rahms and usoni he 3haconne became so /o/ular #ha# #here

e%en e"is#s an arran+emen# $or orches#ra and %iolin by u+us# 'ilhelm &1865-1E08*, #he $irs#

ayreu#h concer#mas#er and a /u/il o$ @erdinand Fa%id E rahms ca/#ured i#s awe-ins/irin+

/ower in a le##er #o 3lara Schumann, wri##en in une 1877:

he 3haconne is $or me one o$ #he mos# wonder$ul, incom/rehensible /ieces o$ music n

a sin+le s#a$$, on a small ins#rumen# #he man wri#es a whole world o$ #he dee/es# #hou+h#s

and #he mos# /ower$ul $eelin+s .$ . were #o ima+ine how I mi+h# ha%e made, concei%ed #he /iece, . now $or cer#ain #ha# #he o%erwhelmin+ e"ci#emen# and awe would ha%e dri%en me

mad10

his ind o$ re%erence has since been shared by many +enera#ions, ele%a#in+ #he s#a#us o$ #he

Solos $rom bein+ s#udies in mas#erin+ /oly/honic %iolin #echni<ue #o bein+ re+arded as #he

ar#is#ic /innacles o$ #he ins#rumen#!s re/er#oire

;



his insis#ence allowed $or such an edi#orial /rac#ice #o become e"/ec#ed s#andard &e+ Mar#eau,

usch, @lesch, a%emann, Kos#al* whils# ach!s $air co/y i#sel$ has also been re/rin#ed in

%arious $acsimile edi#ions &re$er #o //endi" 1 $or de#ail*12

3lose s#udy o$ #he %arious edi#ions enables one #o +ain an insi+h# in#o chan+in+ in#er/re#a#i%e

a//roaches #o #he Solos /ar# $rom edi#orial slurs and o#her /hrasin+ or ar#icula#ion mars,

$in+erin+ and bowin+ indica#ions /ro%ide $ur#her in$orma#ion 3o/ies o$ scores used by

/ar#icular ar#is#s, $or ins#ance ose/h Si+e#i, are es/ecially #ellin+ because #hey re$lec# a sin+le

ar#is#!s %iew o$ #he /iece and reac#ions #o edi#orial su++es#ions 1; u# o$ #he many early 20#h

cen#ury edi#ions, dol/h usch!s &1E1E* is /rac#ically de%oid o$ marin+s his mi+h# re$lec# #he

se%ere and li#eralis#ic a//roach, which became #y/ical in #he 1E;0s and beyond his Qobec#i%e

s#yle! #ha# is o$#en lined #o S#ra%insy!s neo-classical ideolo+y and re$erred #o as !eueSachlichkeit can be obser%ed on many recordin+s as well, e%en beyond #he 1E)0s 3arl @lesch!s

&1E;0* edi#ion re$lec#s more #he la#e roman#ic #radi#ion, in s/i#e o$ /ro%idin+ a re/rin# o$ #he

au#o+ra/h in modern no#a#ion Phrasin+ mars are +enerally use$ul bu# $in+erin+ /romo#es #he

use o$ hi+h /osi#ions Khy#hm is o$#en al#ered in an a##em/# #o indica#e /er$ormed %alues in

/oly/honic sec#ion ean 3am/eil!s &1E5E* edi#ion is #he $irs# #o include #he $acsimile in an

a//endi" l#hou+h i# seems clu##ered wi#h edi#orial addi#ions, #hese o$#en con#ribu#e #o s#ylish

solu#ions, $or ins#ance in re+ard #o rhy#hmic $le"ibili#y and ine<uali#y .n his sur%ey o$ edi#ions

6



edi#ion o$ abi# is con#ro%ersial: l#hou+h i# is 9in#ended #o ca/#ure 18 #h-cen#ury ideals on

ar#icula#ion J, aims $or #he s/eain+ /er$ormance J and ad%oca#es lower /osi#ions, i# is

9in%ariably misleadin+T, hea%y wi#h anno#a#ions andT numerous mis/rin#s in #he /re$ace16

@ield!s disser#a#ion +i%es an o%er%iew o$ cer#ain o#her #rends re+ardin+ in#er/re#in+ ach!s Solos

#ha# can be deduced $rom #he %arious edi#ions15 owe%er, no wri##en score can be as #ellin+

abou# /er$ormance s#yle as a sound recordin+ e$ore #hese are discussed i# mi+h# be use$ul #o

brie$ly recall #he /er$ormance his#ory o$ #he /ieces /rior #o #he ad%en# o$ recordin+ #echnolo+y

and inde/enden# o$ edi#ions

Early performance history

s men#ioned earlier, durin+ #he 18#h cen#ury #he wors were be##er nown amon+ ?erman

%iolinis#s #han amon+ o#her 4uro/ean musicians heir his#oric a//earance on #he in#erna#ional

concer# /la#$orm in #he 1E#h cen#ury is #raceable #o Mendelssohn!s role in re%i%in+ ach=s

com/osi#ions in +eneral Se%ier in$orms us &see no#e 7* #ha# Mendelssohn ased Fa%id #o /lay

#he 3haconne durin+ #he 18;EA60 season o$ #he ?ewandhaus rches#ra in Lei/i+ owe%er,

Fa%id only obli+ed when Mendelssohn a+reed #o accom/any him on #he /iano he /er$ormance#oo /lace on @ebruary 8, 1860 and Fa%id o$$ered #he Preludio $rom #he E Ma8or +artita as an

encore, also wi#h accom/animen#

5



e$$ec#i%ely on a boo# sole would ha%e been as #he s#rain o$ an 4olian & sic* har/ he no#es

which were musical enou+h #o ha%e any discernible /i#ch a# all were mos#ly ou# o$ #une .# washorrible R damnableU ad he been an unnown /layer, in#roducin+ an unnown com/oser, he

would no# ha%e esca/ed wi#h his li$e1)

oachim also made #he $irs# sound recordin+ o$ #he wors .n 1E0;, us# $our years be$ore his

dea#h a# #he a+e o$ 72, he recorded #he da+io $rom #he 4 minor Sonata and #he ourre $rom #he

B minor +artita l#hou+h #he recordin+ <uali#y is ob%iously limi#in+, we can +lean some#hin+

o$ his s#yle, #one and in#ona#ion oachim /ro%ides a rhy#hmically de$ined ourre wi#h s#ron+

down-bea#s and some sli+h# lon+-shor# une%enness in <ua%er /airs #her /a##erns are +rou/ed so

as #o em/hasie #he /ulse and u/-bea# /hrasin+ he da+io is modera#ely $ree: ornamen#al

$i+ures are +rou/ed bowin+ is li+h# and %aried, resul#in+ in a clearly ar#icula#ed ra#her #han

sus#ained or Qon-#he-s#rin+! le+a#o nly #he abru/#ly broen accen#ed chords and mul#i/le s#o/s

arres# #he $low o$ #he im/ro%isa#ory $eel e%en #hou+h #hey are e"ecu#ed so as #o $i# #he melodic

line

oachim!s %iolin #one sounds ra#her #hin and s#rai+h# S/ec#ro+ram analysis con$irms #ha# his

%ibra#o is narrow and selec#i%ely used @or ins#ance, in #he ourre, %ibra#o is /erce/#ible only

on #he minims &e+ *= in bar )2, and less clearly on a= in bar 17*17 .n #he da+io #here is hardly

any audible %ibra#o on #he hi+h *= /recedin+ #he f>= #rill in bar 6 &see @i+ 1a*, al#hou+h i#s use

)



o#h o$ #hese de%ices &ie %ibra#o and /or#amen#o* are im/or#an# enou+h #o warran# $ur#her

discussion Furin+ #he 17#h and 18#h cen#uries %ibra#o was +enerally re+arded as a s/ecies o$

ornamen# #o be em/loyed wi#h discre#ion, mos#ly #o decora#e lon+er no#es owe%er, us# as #he

sin+in+ %oice has a na#ural %ibra#o, i# came #o be reco+nised #ha# a rich, sonorous #one on s#rin+

ins#rumen#s could be crea#ed by %ibra#ion hus, by 1751, ?eminiani was ad%oca#in+ #he use o$

con#inuous %ibra#o $or #he sae o$ a sin+in+ #one Much in has been s/il# o%er #he a//ro/ria#e

use and #y/e o$ %ibra#o in %arious re/er#oires and +eo+ra/hic re+ions and whe#her con#inuous

%ibra#o was really only a 20 #h cen#ury in%en#ion and %o+ue Some ar+ue #ha# #he cen#ral ?erman

#radi#ion re/resen#ed by S/ohr and Fa%id in #he 1E #h cen#ury was u/held by oachim and his

/u/ils who used %ibra#o selec#i%ely, whils# #he @ranco-el+ian school was more in$luenced by

Sou#hern 4uro/ean #radi#ions and HsaVe and Sarasa#e bo#h em/loyed con#inuous %ibra#o #hershi+hli+h# Leo/old uer!s role as a #eacher and /oin# #o his /u/ils, /ar#icularly ei$e# and 4lman

as ey %iolinis#s o$ #he early 20#h cen#ury who /romo#ed a #one <uali#y based on %ibra#o 18 here

are also #hose who subscribe #o 3arl @lesch!s claim #ha# i# was @ri# Breisler who in#roduced a

uni<ue sound by em/loyin+ %ibra#o e%en in $as# runnin+ /assa+es1E Ba#, on #he o#her hand,

ar+ues #ha# 9#he co/ious, con#inuous %ibra#o be unders#ood as a res/onse #o #he e"i+encies o$

sound recordin+ and #ha# 9Breisler was sim/ly held u/ as a model when o#her %iolinis#s be+an #o

use a /rominen# %ibra#o in order #o 9com/ensa#e $or #he limi#a#ions and liabili#ies o$ early

7



3orelli or (eraccini e#c* recordin+s . ha%e heard con$irm #he con#inuous /resence o$ %ibra#o

he di$$erence lies in #he s/eed and wid#h o$ i# $ew s/ec#ro+ram ima+es &@i+ 1a-d* can ser%e

#o illus#ra#e #he %ibra#o o$ %arious ar#is#s uberman!s and Si+e#i!s are, $or ins#ance, wide, slow

and re+ular Mils#ein!s, ei$e#!s and usch!s narrower bu# s#ill slow and re+ular Menuhin!s,

?rumiau"!s, Perlman!s, Kicci!s, ahn!s and Sen#helyi!s $as#er #han #hese whils# Su!s

Oehe#mair!s and 4din+er!s less re+ular and no# con#inuous (iolinis#s /layin+ on /eriod

ins#rumen# use %ibra#o selec#i%ely #o ornamen# cer#ain no#es

.n @i+ure 1c &uberman* one can see an u/ward s#rai+h# line his is a /or#amen#o auc

claims #ha# #he 1E#h-cen#ury de%elo/men# o$ music bein+ re+arded as a sha/ed e"/ression o$

$eelin+ brou+h# alon+ #he em/hasis on /or#amen#o ra#her #han %ibra#o as #he /rimary means o$

#his hear#$el# and indi%idual e"/ression21

Looin+ a# %iolin ins#ruc#ion li#era#ure u/ #o andincludin+ #ha# o$ 3arl @lesch!s in 1E;E, #his %iew can be su//or#ed by many s#a#emen#s hese

em/hasie #ha# /or#amen#o should be used only $or hei+h#ened e"/ression, when #he /er$ormer

$eels o%erwhelmed .# becomes obec#ionable, howe%er, when 9i# is e"ecu#ed in a lan+uishin+

manner, and used con#inually22 Sound recordin+s #es#i$y #ha# around #he #urn o$ #he cen#ury

#here was a much more liberal use o$ /or#amen#o #han $rom #he 1E60s onwards .# is liely,

ar+ues auc, #ha# as con#inuous and in#ense %ibra#o became #he norm, /or#amen#o was +radually

abandoned and re+arded as an o%er#ly emo#ional means unsui#able $or e"/ression in a more

8



is em/loyed more liberally by uberman, ei$e#, 4nesco26 and elmWnyi u/ #o #he 1E50s, and

also, i$ somewha# sur/risin+ly, by Kicci and Perlman in #he la#e 1E80s

Fig" #a: oachim &1E0;*: ? minor da+io, b 6: #rill

on f>= bu# no ob%ious %ibra#o on /re%ious *= &bo#hei+h#h-no#e %alue*

Fig" #b: usch &1E2E*: F minor Sarabanda, b )

showin+ slow, re+ular, no# #oo wide %ibra#o

Fig" #c: uberman &1E62*: F minor Sarabanda, b ):

c>=Ab= si"#een#hs wi#h /or#amen#o in-be#ween,$ollowed by do##ed ei+h#h a= showin+ wide %ibra#o

E



Fig" #d: u++e## &1EE5*: F minor Sarabanda, b ):

no#es 1-5 (ibra#o is used #o ornamen# #he lon+ a=around #he middle o$ i#s dura#ion

So$nd Recordings

Ke#urnin+ now #o #he recordin+ his#ory o$ #he Solos in +eneral, #he $ollowin+ #rends can be no#ed:

.ni#ially only indi%idual mo%emen#s were recorded, o$#en in#er/re#ed as showy bra%ura /ieces

he $irs# com/le#e wor was recorded by usch &1E2E, ' minor +artita* and #he $irs# com/le#e

10



in%ol%ed e%en led #o #he concoc#ion o$ a #heory #ha# ach and his circle used a s/ecial cur%ed

bow #ha# enabled #he simul#aneous /layin+ o$ more #han #wo s#rin+s2) owards #he mid 1E70s, in

#he wae o$ #he early music mo%emen#, cer#ain musicians s#ar#ed #o realise #he o//or#uni#ies

a$$orded by #he a//lica#ion o$ ori+inal 18#h-cen#ury /layin+ #echni<ues and #he in#er/re#a#i%e

in$orma#ion encoded in ach=s ori+inal ar#icula#ion and bowin+ marin+s /reser%ed in #he

au#o+ra/h $air co/y he increasin+ awareness o$ his#orical /rac#ices and e"/eriences wi#h

/layin+ on /eriod ins#rumen#s led #o a new #rend in in#er/re#a#ion #ha# u#ilied #he charac#eris#ic

shor# ar#icula#ion o$ #he baro<ue bow, /laced em/hasis on rhy#hmic +rou/in+ and /ulse, and did

no# s#ri%e $or sus#ainin+ /oly/honic lines 'hils# #he $irs# such recordin+ by Ser+io Luca $rom

1E7)-77 is no# well nown,27 #he escala#ion o$ a%ailable recordin+s #ha# use a /eriod %iolin and

bow has been considerable, es/ecially since #he mid-1EE0s &c$ //endi" 2* @ur#hermore, #he

/layin+ o$ ar#is#s lie 3hris#ian e#la$$ and homas Oehe#mair who use modern %iolins &and bows* is also audibly ins/ired by his#orical /er$ormance /rac#ice28 ll #o+e#her, #here ha%e been

more #han 60 com/le#e se#s and many sin+le wors or mo%emen#s recorded since oachim!s

his#oric 1E0; recordin+s 4"ce/# $or Misha 4lman, /rac#ically all #he $amous %iolinis#s made

recordin+s o$ #he Solos some more #han once &see //endi" 2 $or a de#ailed lis#* 2E

2)

lber# Schwei#er was amon+ #he mos# /rominen# /ro/onen#s o$ #his idea and encoura+ed bow maers and%iolinis#s #o e"/erimen# wi#h an a//ro/ria#e cons#ruc#ion and /o#en#ial /layin+ #echni<ue &Schwei#er, lber#:

QKecons#ruc#in+ #he ach (iolin ow! Musical %merica 70 1E50T, // 5-1; and .dem: QFer $Cr achs 'ere $Cr

(ioline solo er$order#e ?ei+enbo+en! in Ma##haei, Barl, ed Bach-4edenkschrift 92; Ourich, 1E50T, // 75-8; see

also oachim enry: Qach Solo (iolin Sona#as and #he Modern (iolinis#! Musical imes March 1E;1 // 221

11



!erformance !ractice

urnin+ #o s/eci$ic issues o$ /er$ormin+ #he wors, #he /roblem o$ how #o render /oly/honic

sec#ions mi+h# be discussed $irs# wo ma##ers #o hi+hli+h# are #he /layin+ o$ chords and #he

soundin+ len+#h o$ no#es rela#i%e #o #heir wri##en %alue ?enerally, $our-no#e chords are broen as

#wo /lus #wo or one /lus #hree in modern %iolin /layin+ owe%er, his#orical sources indica#e

#ha# ar/e++ia#ion was #he con%en#ion durin+ #he baro<ue /eriod # #he same #ime Melus warns

#ha# #he Lyra da bracciaI#he ori+inal ins#rumen# $or which mos# early ?erman baro<ue

/oly/honic music was com/osedI/layed $ull chords and #ha# ar/e++ia#ion seems #o be more a

/re-classical ideal when /oly/hony wen# ou# o$ $ashion;0 >n%errich# $ur#her no#es #ha#

ar/e++ia#ion does no# ha%e #o be $rom bo##om u/, bu# should ra#her #ae in#o accoun# #he melodic

/i#ch and re#urn #o i# as #he Q$inal! /i#ch o$ #he chord in order $or #he linear as/ec#s o$ #he music #o

remain clear $or #he lis#ener e re$ers #o wha# he calls zurckschla*enden bow-s#roe #ha# was

recommended by Barol Xe$ Li/iYsy &17E0-18)1* #o oachim in rela#ion #o /layin+ <uadru/le

s#o/s in #hese wors Li/iYsy, a re/resen#a#i%e o$ #he (io##i-S/ohr %iolin school, a//aren#lywi#nessed #his bowin+ in Salomon!s in#er/re#a#ions o$ ach!s Solos early in #he 1E #h cen#ury;1

his zurckschla*enden Bo*en /robably means a manner o$ bowin+ where #he /layer re#urns #o

12



melody is in #he middle or lower %oice, as i# o$#en ha//ens in #he F minor 3iaccona bu# also in

#he ? minor da+io, and elsewhere 'i#hou# i# #he melodic line is easily blurred because #he

chord!s #o/ no#e is em/hasied &held* ins#ead o$ #he melodically im/or#an# /i#ch &in #he middle or

#he bass* Ne%er#heless, 20#h-cen#ury %iolinis#s do no# seem #o use i#, no# e%en baro<ue s/ecialis#s

mon+ recordin+s $rom #he 1E;0-70s, i# is common #o hear #he o/enin+ bars o$ #he 4 minor

Sonata as no#a#ed in 4" 1a &e+ Menuhin, ei$e#, Seryn+ Q)8, Su*, whereas 4nesco, Seryn+

!)5, Mils#ein !55, 'all$isch, Sen#helyi, Oehe#mair, e#la$$, u++e##, Buien, and Luca

/er$orm i# more lie in 4" 1b, which is more in line wi#h #he im/lica#ions &4" 1c* o$ ach!s own

no#a#ion &4" 1d*;; .n #he in#er/re#a#ions o$ Si+e#i, ?rumiau", Mils#ein Q75, and 4hnes #he

melodic no#es o$ *$ &bar 1*, c= and b$ flat &bar 2* are somewha# co%ered by #he sus#ained hi+her

/i#ches whils# in Pod+er!s #he swell she /lays on #he chords a$$ec# #he /erce/#ion o$ #he melodic

no#es

E%" #a: 3ommon /er$ormance solu#ion #o b 1-2, ? minor da+io c= &bar 1* and f>= &bar 2* are held o%er #he

melodically more im/or#an# *$ and c= res/ec#i%ely

1;



E%" #b: l#erna#i%e /er$ormance o/#ion re$lec#in+ more closely #he basic melody &; rd bea# o$ b1 and down-bea# o$

b2*

E%" #c: asic melody &] la 3orelli*

E%" #d: ach=s ori+inal no#a#ion

/ar# $rom s#rai+h# chords, #hese wors are also rich in lon+ /oly/honic /assa+es Many

16



he baro<ue bow is shor#er #han #he one de%elo/ed by #he our#e $amily and curren#ly in use .#s

wei+h# dis#ribu#ion na#urally dis#in+uishes be#ween u/-s#roe and down-s#roe, hi+hli+h#in+ #he

me#rical di%isions o$ bars and o#her uni#s .#s shor#er len+#h maes le+a#o /layin+ o$ e"#ended

sec#ions im/rac#ical i#s /eculiar charac#eris#ic o$ soundin+ louder in #he middle maes dynamic

nuances easy #o /roduce he basic di$$erence be#ween an early and a modern bow-s#roe can be

clearly seen in #he s/ec#ral %iew o$ sound $iles he con#ras# be#ween #he #y/ically e%en and

sus#ained s#roe o$ Menuhin &@i+ 2a* or Si+e#i &@i+ 2b*, $or ins#ance, and Luca!s &@i+ 2c* and

'all$isch!s &@i+ 2d* 9/eriod s#roe wi#h i#s so$# be+innin+ and ra/id decay is ob%ious bu# can

be imi#a#ed as demons#ra#ed by Sen#helyi &@i+ 2e* who uses a modern bow and who consul#ed

wi#h LWslX Som$ai on ma##ers o$ his#orical /er$ormance;6

Fig" a: Menuhin 1E;6: F minor Sarabanda, b 1-2showin+ #he sus#ained bowin+ s#yle Fig" c: Luca 1E77: F minor Sarabanda, b 1-2showin+ #y/ical s#roes o$ a baro<ue bow wi#h

+radual be+innin+ and endin+ o$ no#es

15



Fig" e: Sen#helyi 2001: F minor Sarabanda, b 1-2

bowin+ imi#a#es baro<ue /rac#ice wi#h more +raded

be+innin+s and ends o$ no#es No#e also #he limi#ed

use o$ %ibra#o &e+ end o$ $irs# chord*

1)



'ha# is /erha/s less well nown is #ha# already durin+ #he baro<ue #here e"is#ed a di$$erence

be#ween #he shor# @rench bowin+ s#yle and lon+er .#alian s#yle #ha# was more sui#able $or melodic

or can#abile in#er/re#a#ion .# is hard #o now $or sure #owards which s#yle ach was inclined

l#hou+h #he @rench orches#ral s#yle was much admired a# #he #ime, .#alian %ir#uosos were also in

hi+h demand a# ?erman cour#s where ach was em/loyed while com/osin+ #he /ieces .# is /erha/s no#ewor#hy, in #his con#e"#, #ha# ach labelled #he mo%emen#s o$ Par#i#as . and .. in

.#alian ra#her #han in @rench and wro#e embellishmen#s o$ #he .#alian ind $or #he da+io and

?ra%e o$ Sona#as . and .. 3onsiderin+ #he di$$erences be#ween bow #y/es should also be rela#ed

#o di$$erences amon+ #he na#ional aes#he#ic ideals l#hou+h @rench, .#alian and ?erman baro<ue

sources all drew analo+ies be#ween music and s/eech, #here are $undamen#al di$$erences be#ween

wha# #hey ac#ually mean# R mos#ly because #he s/eci$ic $ocus o$ a##en#ion di$$ered $rom coun#ry #o

coun#ry @or #he .#alians a sin+in+ melody was /aramoun# he @rench re$ined #he ar# o$

dis#in+uishin+ be#ween lon+ and shor# syllables he ?ermans $a%oured a more +eneral a//roach

#ha# em/hasied rhe#orical e"/ression based on minu#e di$$erences be#ween s#ressed and

uns#ressed no#es, as associa#ed wi#h /oe#ic me#re and achie%ed #hrou+h #he sub#le di$$erences

be#ween u/- and down-s#roes;5



di$$eren#ia#e be#ween usin+ us# #he #i/ o$ #he bow, /layin+ a# #he nu#, or main+ lon+ s#roes

/ar# $rom ?rumiau", and #o a lesser e"#en# Seryn+, %iolinis#s o$ #he ne"# +enera#ion and

beyond #end #o ha%e a more uni$orm a//roach #o bowin+ Si+e#i no#iced #his decline in ri+h#-

hand #echni<ue in $a%our o$ a $ocus on #he le$#-hand when he remared: 9# a #ime lie ours

when #he a%era+e %iolinis#!s e<ui/men# is a# an un/receden#ed hi+h le%el J i# may sound

/arado"ical when . say #ha# #here seems #o beIa# leas# #o meUIa re+ression in #he use o$ #he

bow $or e$$ec#s #ha# are $ar beyond #he ordinary;7 he e%er-/resen# /or#a#o-s#roe limi#s #he

ran+e o$ musical charac#er #ha# a /er$ormer can /roec# main+ #he Solos sound more

homo+eneous and rein$orcin+ #heir #imeless ra#her #han s#yle-s/eci$ic <uali#ies Ne%er#heless

when e"ecu#ed wi#h /er$ec#ion, as on ilary ahn!s recordin+ &1EE7*, #he beau#y and

seamlessness o$ #he %iolin #one is <ui#e wondrous

.$ #he s#ri%in+ $or e%enness and con#inuous le+a#o crea#ed a decline in Qar#icula#ed! bowin+, #oo

much em/hasis on di$$eren#ia#in+ be#ween u/ and down s#roes carries /o#en#ial /roblems as

well he e"a++era#ed ar#icula#ion o$ #he smalles# uni#s, #oo many s#resses and #oo much dynamic

nuancin+ can <uicly lead #o mannerism #one <uali#y su$$ers and #he $low o$ #he music is

dis#urbed as can be obser%ed in cer#ain mo%emen#s on #he recordin+s o$ %an Feal, 'all$isch and

u++e##, amon+ o#hers he messa di &oce is an e"/ressi%e de%ice i# is be##er #o use i# only

selec#i%ely # #he same #ime, ach!s /oly/hony is only /erce/#ible when #he hierarchy be#ween



#he u//er hal$, which is wha# is #y/ical o$ modern bowin+ hese /eriod #echni<ues as well as

#he udicious use o$ rhy#hmic $le"ibili#y and me#ric s#resses con#ribu#e subs#an#ially #o #he %i#ali#y

o$ rhy#hm, clari#y o$ harmonic-/oly/honic de#ail and %arie#y o$ musical charac#er wi#nessed on

recordin+s o$ Luca, Oehe#mair, e#la$$, u++e##, %an Feal, 'all$isch, Pod+er and Sen#helyi

Por#a#o-bowin+, #erraced dynamics and lon+-ran+e crescendos and diminuendos crea#e an

essen#ially di$$eren# e$$ec#: more e%en #one, /roec#ion o$ lar+e-scale s#ruc#ure, au#hori#a#i%e

command o$ in#ona#ion, and a +enerally homo+enous deli%ery o$ #he %arious mo%emen# #y/es

&e+ Mils#ein, Bremer, Perlman, 4hnes, Poule#, Kicci, ahn*

Dance o*ements

he abo%e already im/lies #ha# bowin+ /lays a crucial /ar# in /roec#in+ #he charac#er o$ #he

dance mo%emen#s ere i# needs #o be in$ormed by an awareness o$ #he his#orical meanin+ o$

#ime si+na#ures and #heir si+ni$icance $or #he dis#ribu#ion o$ me#ric s#resses wi#hin #he bar ;E

@amiliari#y wi#h charac#eris#ic dance s#e/s and /a##erns also $os#ers #he e$$ec#i%e renderin+ o$ #he

Par#i#as60

ae #he Loure $rom #he E Ma8or +artita $or e"am/le .# is o$#en in#er/re#ed as a somewha# sad



/ar#i#a +enerally sound lie a hea%y, o%er-accen#ed, and melodically orien#ed renderin+ o$ #ri/le

s#o/s &e+ Mils#ein !50, Seryn+, ?rumiau", Menuhin !57 e#c* ra#her #han a dance in ;A6 &e+

ei$e#, Oehe#mair, e#la$$, 'all$isch, e#c* .n #he la##er case #he /airs o$ <ua%ers are some#imes

rendered wi#h a lon+Rshor# lil# or do##in+ &e#la$$, Pod+er, %an Fael, Buien*

he Sarabanda o$ #he ' minor +artita also warran#s a $ew words he saraband is a slow, s#a#ely

dance in #ri/le me#re wi#h an accen# on #he second bea# ach!s scorin+ $i#s #he /a##ern /er$ec#ly:

rhy#hm, harmony, #e"#ure, wri##en ou# ornamen#s all su//or# #he saraband charac#er Kecordin+s

$rom #he $irs# hal$ o$ #he cen#ury /lay i# le+a#o, in a sus#ained s#yle, rhy#hmically e%en and li#eral

4%en lay lis#eners labelled #hese %ersions Qroman#ic! he saraband rhy#hmic /a##ern and

ornamen#s are deci/herable in ?rumiau"!s %ersion bu# he /lays %ery $as# and ma##er-o$-$ac#ly .n

con#ras#, Luca!s airy /hrasin+ and +rou/ed $i+ures clearly /roec# #he #ri/le me#re wi#h accen# on#he second bea# and /ro%ide an e"/ressi%e /er$ormance wi#hou# a hin# o$ roman#icism62

+empo

.# is no coincidence #ha#, so $ar, i# is mos#ly bowin+ #ha# has been discussed, whils# #he

im/or#ance o$ choosin+ #he 9ri+h# #em/o has hardly been men#ioned 'i#hou# wan#in+ #o



his#orically in$ormed /er$ormances65 he analysis o$ #he o#her recordin+s su//or#s #his resul# #o

a lar+e e"#en# &see @i+ ;a-b* l#hou+h #he #em/i are ob%iously %aried, more recen#ly issued

%ersions are no# necessarily $as#er #han earlier ones and mos# $i# wi#hin a s#andard ran*e o$ #em/i

S#a#is#ically s/eain+, in #he Sona#as only $i%e #o #en /er$ormances de%ia#e $rom #his norm by

more #han ± 1 SF4(6) 4"#reme de%ia#ions &ie SF4( +rea#er #han ± 2* are rare indeed: a/ar#

$rom ei$e# &28)* and elmWnyi &-225* in #he minor @u+a, no# more #han one in any o$ #he

mo%emen#s nly Oehe#mair!s minor ndan#e re/resen#s an e%en more e"#reme #em/o choice

&SF4( ;75*: his MM <uar#er no#e [ 68 is way $as#er #han a%era+e &MM [ ;0* or e%en #he ne"#

$as#es# &Luca G Mils#ein 1E75 bo#h a# MM [ ;5* roadly s/eain+, #em/o choice seems #o

$luc#ua#e more in #he Par#i#as, es/ecially in #erms o$ de+ree here are <ui#e a $ew wi#h more #han

± 2 SF4( and #hree wi#h abou# ± ; &Oehe#mair in #he 4 Maor ?a%o##e en Kondeau ;01T and

F minor 3orren#e ;02T ?olds#ein in F minor Sarabanda -;01T* 'ha# is also no#ewor#hy is

#ha# a/ar# $rom #he e"#remes, o%erall #rends seem #o be similar in earlier and more recen# #imes

&e+ F minor 3orren#e MM <uar#er no#e [ 11; in 1E2E and MM [ 112 in 2001 wi#h a%era+e MM

[ 115* sli+h# #rend #owards $as#er #em/i can be obser%ed in #he F minor Par#i#a!s Sarabanda

mo%emen# &MM <uar#er no#e [ 2E in #he earlies# and MM [ 65 in #he la#es#, a%era+e MM bein+

;E*, bu# #he $as# e"#remes o$ #he llemanda in earlier decades seem #o ha%e slowed since 1E85&see @i+ ;a* he ?i+a o$ #he same wor is also #aen slower by curren# /layers &c$ usch,

1E2E: MM do##ed <uar#er no#e [ 86 Sen#helyi, 2001: MM [ 7;* @inally, when one com/ares



/eriod ins#rumen# %iolinis#s bu# #he minor 3orren#e and 4 maor Preludio slower &see @i+ ;a-b

$or #em/o choices in ' minor +artita*

em/o can, o$ course, be a//roached $rom #he /oin# o$ %iew o$ $le"ibili#y ow s#eady i# is in

cer#ain in#er/re#a#ions or how much i# $luc#ua#es and when &or $or wha# /ur/ose* in o#hers\

Furin+ #he las# #en years or so researchers o$ musical /er$ormance ha%e e"/erimen#ed wi#h

%arious #echni<ues #o accoun# $or #em/o $le"ibili#ies67

.n #he /resen# con#e"# #he so-called #em/o

ma//in+ me#hod could be used as #he ma#erial a# hand is /re-recorded %iolin music ra#her #han

es/ecially in-/u##ed M.F. or disla%ier /iano renderin+s /reliminary o%er%iew indica#es #ha#

$as# and $u+ue mo%emen#s ha%e a s#eadier #em/o #han dance and slow mo%emen#s em/o

$luc#ua#es in a somewha# an+ular manner in #hose rendi#ions where #he /er$ormer ar#icula#es #he

music in +rea#er de#ail &e+ F minor llemanda by e#la$$, 4 Maor Preludio by u++e##, minor @u+a by 'all$isch* y 9an+ular . mean #em/o di$$erences #ha# are ei#her /ronounced

&ie a <uasi sudden arres# or rush ahead* or closely lined #o rhy#hmic +rou/in+ and #here$ore

locally nuanced .n 9/hrased /er$ormances o$ slower #y/e mo%emen#s #em/o $luc#ua#ion is

smoo#h and 9lon+-ran+e i# con$orms #o #he #y/ical cus#om o$ sli+h# slowin+ down $or /hrase

ends &e+ 4 Maor Loure by ahn, Mils#ein 1E50s minor ndan#e by 4nesco, Kicci, F minor

Sarabanda by uberman, elmWnyi, Ba+an ? minor Siciliano by 4hnes, Menuhin in 1E57* .#

seems #ha# a de#ailed com/ara#i%e #em/o-ma//in+ s#udy o$ #hese sec#ions would /ro%ide essen#ial



Fig" a: em/o choices in F minor llemanda, 3orren#e and Sarabanda arran+ed in chronolo+ical order &1E28-2002*

0

20

40

60

80

100

120

140

160

180

B u s c h

B u s c h

B u s c h

M e n u h i n

H e

i f e t z

E n e s c o

F r a n c e s c a t

t i

H u

b e r m a n

H e

i f e t z

T e

l m a n y

i

M i l s t e i n

S z

i g e t i

M e n u h i n

r u m

i a u !

S z e r y n g

S z e r y n g

S u "

M i l s t e i n

o

l # s

t e i n $ u c a

% a g a n

% r e m e r

% u

i & " e n M i n t z

' e

h e

t m a i r

( e r l m a n

) i c c

i

E # i n g e r

T e

t z l a f f

H u g g e t

t

( o u l e

t

* a n

, a e

l

H a h n

( o

# g e r

- a

l l f i s c h

a

h l e r

( a r a s c

h " e * o *

E h n e s

S z e n

t h e l y

i

violinists

M M v

a l u

e s

MM .lleman#a

MM /orrente

MM Saraban#a

Fig" b: em/o choices in F minor ?i+a and 3iaccona arran+ed in chronolo+ical order &1E2E R 2002*

30

100

MM iga

MM /iaccona



Ornamentation

@inally, a $ew words abou# ornamen#a#ion are needed he earlier discussion o$ #he ? minor

da+io!s o/enin+ bars and o$ #he F minor Sarabanda has already im/lied #ha# #he many small

no#e %alues and rhy#hmically in#rica#e looin+ +rou/s in ach!s scores re$lec# #he .#alian manner

o$ deli%erin+ slow mo%emen#s here$ore a 9+es#ural ra#her #han me#ronomic /er$ormance is

more a//ro/ria#e Bee/in+ a cons#an# bea# while /layin+ wi#h a de+ree o$ liber#y and $reedom

/roec#s a /er$ormance in which melodic embellishmen#s sound im/ro%ised a# #he s/ur o$ #he

momen# an his#orical charac#eris#ic o$ baro<ue /er$ormance /rac#ice and #he /rero+a#i%e o$ all

accom/lished baro<ue /er$ormers # #he $ace o$ i#, ach #aes away #he /er$ormer!s ri+h# #o

such e"#em/ore ornamen#a#ion by no#a#in+ e%ery sin+le small no#e u# #his /rac#ice o$ his does

no# mean #ha# e%ery#hin+ he wri#es has iden#ical com/osi#ional si+ni$icance and needs #o be

/layed wi#h e<ual im/or#ance n #he con#rary: modern /er$ormers mus# realise #ha# ach!s

scores re/resen# wri##en ou# co/ies and render decora#i%e no#es and /a##erns accordin+ly

Fis#in+uishin+ be#ween ornamen#al +rou/s and /rinci/al melodic /i#ches re<uires sub#le con#rol

o$ #one and rhy#hmic ruba#o or local $reedom wi#hin a $airly s#ric# bea# hese means crea#e adi$$eren# #y/e o$ e"/ression $rom #ha# +enera#ed by em/hasis on lar+e-scale /hrasin+ and lon+-

ran+e dynamic- or #em/o $luc#ua#ions &com/are, $or ins#ance, ei$e#, Su, Menuhin and o#hers



u++e##!s &4" 2a* and Kachel Pod+er!s &4" 2b* %ir#uosic com/le#e re-wri#es o$ #he $inal rondo

s#a#emen# in #he E Ma8or +artita!s ?a%o##e mo%emen#

E%" a: bars E6-100, E Ma8or +artita: ?a%o##e en Kondeau as /er$ormed by u++e## &1EE5*

E%" b: bars E6-100, E Ma8or +artita: ?a%o##e en Kondeau as /er$ormed by Pod+er &1EE8-E*



-oncl$sions

Summin+ u/ #hese necessarily cursory obser%a#ions #he mos# ob%ious #hin+ #o no#e is #he richness

o$ #he ma#erial a# hand: o%er $i$#y edi#ions and more #han $or#y com/le#e recordin+s, no# #o

men#ion #he numerous #ranscri/#ions and arran+emen#s and #he e"#ended scholarly and

/eda+o+ical li#era#ure on #he wors S#udyin+ #hem does no# sim/ly /ro%ide $ur#her su//or# $or

#heories re+ardin+ +eneral #rends in music /er$ormance and %iolin /layin+ bu#, im/or#an#ly,

e"/ands and re$ines our unders#andin+ o$ #hese #rends

//endi" 1: Selec#i%e Lis# o$ .m/or#an# wen#ie#h-3en#ury 4di#ions

.ear Editor !lace !$blisher

1E08 oachim A Moser erlin o#e und oc

1E15 L 3a/e# Paris Snar#1E17 L uer New Hor @ischer

1E1E usch onn Simroc

1E21 ubay 'ien >ni%ersal-4di#ion1E22 Mar#eau Lei/i+ S#ein+rDber

1E22 4 errmann New Hor Schirmer 1E25 4lderin+ Main Scho##

1E;0 3 @lesch Lei/i+ Pe#ers1E;6 ambour+ London "$ord >P



/ppendi% 0 1ist of St$died So$nd Recordings6E

!erformer Rec" Date 2ss$e Date 1abel 2D -omment

usch, dol$ 1E28 1EE7 //ian Publica#ions G Kecordin+s

556;

Fm Sarabanda

usch, dol$ 1E2E 1EE1 A 1EE6 4M. a/anese edi#ion 34 )781-E7 Fm

usch, dol$ 1E;6 1E8; Fanacord F3 1;) ?m4din+er, 3hris#iane 1EE1 1EE2 Na"os 855057 com/le#e

4hnes, ames 1EEE 2000 nale#a @leurs de lys @L 2;167-8 com/le#e

4nesco, ?eor+es 1E60 1EEE .ns#i#u#o Fisco+ra$ico .#aliano .F.S;28A2E

com/le#e

@rancesca##i, Oino 1E58 1EE1 iddul/h \ m@rancesca##i, Oino 1E60\ 3olumbiaASNH P161E6 Fm, 4M

?Dhler, Kudol$ 1EE8 1EEE re#eno%a 3lassics 76;21 )7501-2 com/le#e

?olds#ein, Mihail c1E)7-1E80

_Mi#ra 3F 1)2;E &FF* Fm

?rumiau", r#hus 1E)1 1EE; Phili/s Fuo 6;87;)-2 com/le#eahn, ilary 1EE7 SNH SB )27E; Fm, 4M, 3M

ei$e#, asha 1E25 1EE2 4M. Ke$erences &mono* 3F 7 )66E62

4m Minue# .-..

ei$e#, asha 1E;5 1EE2 4M. Ke$erences &mono* 3F 7 )66E6

2

?m, 3M, Fm

ei$e#, asha 1E52 1EE6 M? 3lassics &K3* 0E02) )1768-2 com/le#e

enel, Susanna c1EE5` he S/o# Kecords 288)E-; 4Muberman, ronislaw 1E62 1EE7 rbi#er 105 Fm

u++e##, Monica 1EE5 1EE7 (ir+in (eri#as 5652052 com/le#e baro<ue %iolin

oachim, ose/h 1E0; /al 3F E851 m ourree, ?m da+ioBa+an, le+ 1E7E Li%e 3lassics L33 171 m, Fm

Bremer, ?idon 1E80 circa _Phili/s 61) 2;5-1 com/le#eBreisler, @ri# 1E10-1E6) 1EE5 M? 0E02-)1)6E-2 4M Preludio G ?a%o##e wi#h

/iano

6E ll s#udied recordin+s were 3F issues e"ce/# when mared wi#h _ in #he Label column hose were lon+ /layin+ &%inyl* records accessed in sound archi%es



Buien, Si+iswald 1E81 1E8; Feu#sche armonia Mundi ?F7706; com/le#e baro<ue %iolin

Buien, Si+iswald 2000 Feu#sche armonia Mundi

05672775272

com/le#e baro<ue %iolin

Luca, Ser+io 1E77 Nonsuch com/le#e baro<ue %iolin

Menuhin, Hehudi 1E;6-;) 1E8E 4M. Ke$erence &mono* 3S 7);0;5 2 com/le#eMenuhin, Hehudi 1E57 1EE; 4M. 3lassics 5 )E26E 2 com/le#e

Mils#ein, Na#han 1E55 1E)) 4M. OFM )67E;2; com/le#eMils#ein, Na#han 1E7; 1E75 F? ri+inals F? 657701-2 com/le#e

Min#, Shlomo 1E8;-86 1E86 Feu#shce ?rammo/hon F? 61;810-2 com/le#e

Parasche%o%,(esselin

1EE8 _elos S#udios LS 007 ?m, m, Fm

Perlman, .#a 1E8) 1E88 4M. 3lassics 7 6E68; 2 com/le#ePod+er, Kachel 1EE7-EE 1EEE 3hannel 3lassics 33S 121E8 com/le#e

Poule#, ?erard 1EE) rion 2)82E) com/le#e

Kicci, Ku++iero 1E881EE1

1EE2 9Kicci: 3elebra#in+ Si" Fecades onS#a+e ne-4le%en >KS E20;;

3oncer# m, Fm3oncer# m

Sarasa#e, Pablo 1E06 /al 3F E851 4M PreludioSchroeder, aa/ 1E86-1E85 1E87 A 1EE0 Smi#hsonian .ns#i#u#ion NF-0;82 com/le#e baro<ue %iolin

Su, ose/h 1E71 1EEE 4M. 3lassicsFouble $$or#e 5 7;)66 2 com/le#eSen#helyi, MilXs 2001 2002 un+aro#on 3F ;2071-72 com/le#e

Seryn+, enry 1E)5 1EE1 SNH &F mono* 01-06)721-10 com/le#e

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