A performance guide of J.S. Bach's viola da Gama sonatas transcribed for viola

As a viola player who is currently learning the viola da gamba sonatas, I have noted a significant dearth of literature in this focal area. This has been particularly evident when approaching the viola transcriptions of Bach’s solo cello suites and viola da gamba sonatas. My aim is to create a performance guide to J.S. Bach’s Three Sonatas for viola da gamba and Harpsichord (BWV 1027‐1029), transcribed for viola. I shall be comparing three editions of viola transcriptions to Bärenreiter’s Neue Bach Ausgabe, edited by Hans Eppstein. This comparison will focus on articulation markings and other editorial devices used to adapt the sonatas for the viola. An analysis of the articulation used by Bach and his copyists can only be undertaken if performance practice of the time is understood. The “Historically Informed Performance” (HIP) movement is central to this understanding, and has been the topic of much recent debate. Although the viola da gamba and viola are both string instruments, they differ in size and employ different techniques. Thus, should the articulation and timbre of the former be imitated in playing the latter? Or should the unique qualities of the viola be embraced to create a distinct sound? Thus, my interest in this research topic was piqued not only by the need for interpretative clarification; but also by the potential to address the specific technical difficulties arising due to the mechanics of the viola.

Grantor dc:publisher.institution

College of Music

Year dc:date.issued

2014

Author dc:creator

• Isaacs, Azra

Advisor dc:contributor.advisor

• Sandmeier, Rebekka

Language dc:language.iso

eng

Handle dc:identifier.uri

http://hdl.handle.net/11427/13253

OAI identifier oai:identifier

oai:open.uct.ac.za:11427/13253