Interpreting Polyphony in Russian/Soviet Piano Transcriptions of J

Home , Alexander Siloti, Bach Digital, Boris Safonov, Chorale prelude, Dmitry Kabalevsky, Georgy Catoire

Reconciling the analyst and the performer: Interpreting polyphony in Russian/Soviet piano transcriptions of J. S. Bach’s

works

Nadezhda Koudasheva

A thesis submitted in partial fulfilment of the requirements for the degree of

Doctor of Musical Arts.

Sydney Conservatorium of Music, The University of Sydney

2019

Declaration

The dissertation presented here is the result of my own work and does not include collaboration unless otherwise stated. It has not previously been submitted for any degree or qualification. The transcription list presented in the appendix builds on a list the compilation of which I commenced during my B. Mus. Honours project (2014, University of Sydney).

Abstract

Attempts to analyse polyphonic textures from a score can result in controversially different conclusions. By drawing on questions which arise from analysing Russian/Soviet piano transcriptions of works of J. S. Bach this study demonstrates how some conclusions made about polyphonic texture from a score are effectively descriptions of an imagined performance by the analyst. Many factors defined in a performance influence the analyst’s decision to note the presence of polyphonic features such as inferred melodies. The value of realising that an analyst is effectively an analyst-performer becomes particularly evident when attempting to analyse Bach transcriptions.

Aside from discussing analytical methods, the underlying aim of this study is to draw attention to the extensive tradition of Russian/Soviet piano transcriptions of works of J. S.

Bach which spans from the first half of the 19th century to today and includes over 250 transcriptions by dozens of transcribers. The relevant scores and texts were either accessed from libraries and archives in Russia or sourced online. Most of these materials have not been previously been engaged with in English-language studies. The re-discovery of

Russian/Soviet Bach transcriptions and associated literature will benefit professional musicians, students, and the wider audience.

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List of musical examples used in the text

Fig. 3.1 (a). Bach: Sinfonia from Wir danken dir, Gott, wir danken dir BWV 29, bar 53. Fig. 3.1 (b). Bach/Siloti: Sinfonia from Wir danken dir, Gott, wir danken dir BWV 29, bar 53. Fig. 3.2. Bach/Siloti: Prelude in B minor, from Prelude BWV 855a, bars 17-23. Fig. 3.3 (a). Bach: Prelude and Fugue in G minor BWV 535, bars 2-4. Fig. 3.3 (b). Bach/Siloti: Prelude from Prelude and Fugue in G minor BWV 535, bars 2-4. Fig. 4.1 (a). Bach: Prelude and Fugue in G major, BWV 541, bars 1-6. Fig. 4.1 (b). Bach/Goedicke: Prelude and Fugue in G major, BWV 541, bars 1-6. Fig. 4.2. Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bars 61-67. Fig. 4.3 (a). Bach: Prelude and Fugue in G minor BWV 535, bar 15. Fig. 4.3 (b). Bach/Nikolaeva: Prelude and Fugue in G minor BWV 535, bar 15. Fig. 4.3 (c). Bach/Drozdov: Prelude from Prelude and Fugue in G minor BWV 535, bar 15. Fig. 4.3 (d). Bach/Siloti: Prelude from Prelude and Fugue in G minor, BWV 535, bar 15. Fig. 4.4 (a). Bach: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bar 16. Fig. 4.4 (b). Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bar 16. Fig. 4.5 (a). Bach: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bars 90-94. Fig. 4.5 (b). Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bars 90 94. Fig. 4.6. Goedicke: Etude Op 22 No 4, bars 1-10. Fig. 5.1 (a). Bach: Prelude and Fugue in G minor BWV 535, bars 1-2. Fig. 5.1 (b). Bach/Siloti: Prelude from Prelude and Fugue in G minor BWV 535, bars 1-2. Fig. 5.2 (a). Bach: Prelude from Violin Partita No 3, BWV 1006, bars 43-45. Fig. 5.2 (b). Bach/Rachmaninov: Prelude from Violin Partita No 3, BWV 1006, bars 43-45. Fig. 5.3 (a). Bach: Violin Sonata in A minor BWV 1003, mvt 4, bar 1. Fig. 5.3 (b). Bach: Keyboard Sonata in D minor BWV 964, mvt 4, bar 1. Fig. 5.4 (a). Bach: Violin Sonata in F minor BWV 1018, mvt 3, bar 8. Fig. 5.4 (b). Bach/Siloti: Adagio from the Sonata for Violin and Keyboard in F minor, bar 8. Fig. 6.1 (a). Vivaldi/Bach: Concerto in A minor BWV 59, mvt 2, bars 1-12. Fig. 6.1 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 1-12. Fig. 6.2. Vivaldi: Concerto in A minor RV 522, mvt 2, bars 1-7. Fig. 6.3 (a). Vivaldi/Bach: Concerto in A minor BWV 59, mvt 2, bars 13-19. Fig. 6.3 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 13-19.

Fig. 6.4 (a). Vivaldi/Bach: Concerto in A minor BWV 59, mvt 2, bars 14-15. Fig. 6.4 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 14-15. Fig. 6.4 (c). Vivaldi: Concerto in A minor RV 522, mvt 2, bars 14-15. Fig. 6.5 (a). Vivaldi/Bach: Concerto in A minor BWV 59, mvt 2, bars 19-24. Fig. 6.5 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 19-24. Fig. 6.6 (a). Vivaldi/Bach: Concerto in A minor BWV 59, mvt 2, bars 31-34. Fig. 6.6 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 31-34. Fig. 7.1 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 1-2. Fig. 7.1 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 1-2. Fig. 7.2 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 9-10. Fig. 7.2 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 9-10. Fig. 7.3 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 12-14. Fig. 7.3 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 12-14. Fig. 7.4 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 5-6. Fig. 7.4 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 5-6. Fig. 7.5 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 16-17. Fig. 7.5 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 16-17. Fig. 7.6 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 15. Fig. 7.6 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 15. Fig. 7.7 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 11-12. Fig. 7.7 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 11-12. Fig. 7.8 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21. Fig. 7.8 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21. Fig. 7.9 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 9. Fig. 7.9 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 9. Fig. 7.10 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 11. Fig. 7.10 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 11. Fig. 7.11 (a). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 18. Fig. 7.11 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 20. Fig. 7.12 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 27-28. Fig. 7.12 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 27-28. Fig. 7.13 (a) and (b). Bach, and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 1.

Fig. 7.14 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21. Fig. 7.15 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 7. Fig. 7.16 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 35. Fig. 8.1 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 9-10. Fig. 8.1 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 9-10. Fig. 8.2 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 26-29. Fig. 8.2 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 26-29. Fig. 8.3 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 23-24. Fig. 8.3 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 23-24. Fig. 8.4 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 15-16. Fig. 8.4 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 15-16. Fig. 8.5 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-21. Fig. 8.5 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-21. Fig. 8.6 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bar 5. Fig. 8.6 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bar 5. Fig. 8.7 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22. Fig. 8.7 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22. Fig. 8.7 (c). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22. Fig. 8.8 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7-10. Fig. 8.8 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7-10. Fig. 8.9 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2. Fig. 8.9 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2. Fig. 8.10 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2. Fig. 8.10 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2. Fig. 8.11. Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7 10. Fig. 8.12 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 13-14.

Fig. 8.12 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 13-14. Fig. 8.13 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-20. Fig. 8.13 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-20. Fig. 8.14 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 5-8. Fig. 8.14 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 5-8.

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A note on translations and transliterations

All translations from Russian have been made by me, unless otherwise specified. In the references, the titles of articles and books are given in transliteration from Cyrillic and in an

English translation. I have chosen to utilise a method which incorporates aspects from two existing systems (GOST 7.79-2000(A) and GOST R 52290-2004):

а a к k х h

б b л l ц ts

в v м m ч ch

г g н n ш sh

д d о o щ shch

е e or ye п p ъ omitted, or y

ё yo р r ы y

ж zh с s ь ’ or y

з z т t э e

и i у u ю yu

й y ф f я ya

Names are written according to common tradition, for example, last names ending in -ский are written as -sky rather than -skiy. In the cases of well-known names, one of the common spellings are selected for use, for example Sergey Rachmaninov. Some first names are also spelled in the common form such as Александр as Alexander rather than Aleksandr.

However, in the case of the patronymic Александрович, the transliteration Aleksandrovich is used.

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Acknowledgements

Firstly, I would like to thank my supervisor Dr David Larkin and my piano teacher

Phillip Shovk for their help, knowledge, and support during the many stages of this project.

To my family – I am very grateful to you for everything. Thank you, also to the academic staff members at the Sydney Conservatorium, especially Lewis Cornwell, Neal Peres da

Costa, and Kathleen Nelson; your expertise and readiness to answer my questions have been very helpful. I also greatly value the feedback which had been given to me by members of staff of the keyboard department at the Sydney Conservatorium. Thank you also to David

Kim-Boyle for his recording work. I would also like to show my appreciation to the musicians who have played in the ensemble works which I have included in my DMA recitals over the years: Benjamin Adler (violin), Evgeny Sorkin (violin) and Nico Tjoelker

(organ). I am also very grateful to have great friends.

Throughout the course of this project, the Sydney Conservatorium of Music

(University of Sydney) has provided me with scholarship and research funding. I appreciate this as it has enabled me to access the necessary materials from Russian libraries and archives and to present my work internationally. Library staff, particularly at the Russian State

Library, Sydney Conservatorium Library, Russian National Museum of Music, and the

Russian State Archive for Literature and the Arts – thank you.

Contents

Declaration ...... ii Abstract ...... iii List of Musical Examples used in the text ...... iv A note on translations...... viii Acknowledgements ...... ix Part 1 ...... 1 Introduction ...... 1 Chapter 1. Defining transcriptions, polyphony and texture...... 6 Chapter 2. Developing analytical methods...... 25 Part 2 ...... 35 Chapter 3: The role of changing factors; note durations...... 35 Chapter 4. A polyphonic technique: Doubling...... 48 Chapter 5. A polyphonic effect: Inferred polyphony...... 68 Part 3: Case Studies...... 80 Case study 1: A. Vivaldi/J. S. Bach/S. Y. Feinberg: Concerto in A minor RV 522/BWV 593/Op 35, mvt 2. Adagio...... 82 Case Study 2: J. S. Bach/A. L. Ioheles: Esurientes implevit bonis from Magnificat BWV 243..... 105 Case study 3: J. S. Bach/V. S. Belov and J. S. Bach/A. S. Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031...... 123 Conclusions ...... 142 Appendix...... 148 Bibliography ...... 201

Part 1

Introduction

“Of course, a correct analysis of all musical components – harmony, counterpoint, form – is important for making conclusions relevant to the interpretation of a work. However, in a dissertation it is necessary to convincingly enough show their link with the live process of performance.” Samuil Feinberg. Pianism as an Art.1

The tradition of creating piano transcriptions from works of Johann Sebastian Bach in

Russia/USSR/post-USSR states began at least as early as the first half of the 19th century and currently amounts to over 250 transcriptions.2 This phenomenon is part of a more general interest in producing keyboard transcriptions which dates back to the time of J. S. Bach himself.3 Transcriptions enjoyed particular popularity during the Romantic period, and were cultivated by many composers including by Ferruccio Busoni and Franz Liszt.4 While there currently seems to be somewhat of a revival in interest in transcriptions, the works of most transcribers from the Russian/Soviet Bach tradition (with the exceptions of Alexander Siloti,

Samuil Feinberg and Sergey Rachmaninov) have still received little scholarly attention.5 The

1 Samuil Yevgenyevich Feinberg, Pianizm kak iskusstvo [Pianism as an art] (Moscow: Muzyka, 1969), 533; In this quote Feinberg is discussing dissertations written by performers. 2 Leonid Royzman, Organ v istorii russkoy muzykal’noy kul’tury [Organ in the history of Russian musical culture] (Moscow: Muzyka, 1977), 196; Leonid Royzman, “Nezasluzhenno zabytyy muzykant” [An undeservingly forgotten musician], Sovetskoye iskusstvo 41 (1951): 4. 3 Putnam Aldrich, “Bach’s Technique of Transcription and Improvised Ornamentation,” The Musical Quarterly 35, no. 1 (1949): 26. 4 Boris Borisovich Borodin, Istoriya fortepiannoy transkriptsyi [History of the piano transcription] (Moscow: Deka-VS, 2011), 7. 5 Borodin, Istoriya, 8; Examples of scholarly studies of Alexander Siloti’s, Samuil Feinberg’s and Sergey Rachmaninov’s works include the following dissertations, amongst other materials: Stephen Ross Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions of Works by J. S. Bach,” (DMA diss., University of Cincinnati, 2011); Solomon Eichner, “The Life and Legacy of Samuil Feinberg,” (DMA diss., University of South Carolina, 2017); Anastasiya Naplekova. “Interpretative Aspects in Rachmaninoff’s Transcriptions for Piano Solo: A Performer’s Guide” (DMA diss., University of Miami, 2016); Elena Gennadyevna Mal’tseva, “Alexander Ilyich Siloti: pianist, pedagog, organizator kontsertnoy zhyzni,” [Alexander Ilych Siloti: pianist, pedagogue, organiser of concert life] (PhD diss., Rostov State Conservatory, 2014); Andreas Xenopoulos, “Tracing the Development of Vivaldi's "L'estro Armonico" Concerto No.8 in A minor Through J.S. Bach and Samuil Feinberg's Keyboard Transcriptions: Exploring the Possibilities of a Modern Authentic Performance,” (DMA diss., The University of Nebraska, 2014); Ja-Hye Koo, “The Music of

1 list of transcribers from Russia/USSR which have been studied over the course of work on this thesis and some brief biographical facts about them are presented in the Appendix.

Bach’s works have been associated by many musicians with the art of contrapuntal technique and polyphonic writing, especially during the 19th-century ‘Bach revival’ and the modernist movement in the 20th century.6

This dissertation has a number of interlocking aims. The overarching and initial goal was to draw attention to and rediscover lesser-known Russian/Soviet transcribers of works of

J. S. Bach. This is undertaken by referring to the work of some of these transcribers in discussion examples, by conducting three case studies, and by providing a list of transcriber biographies and transcriptions for which scores, recordings, or references have been found.

From an analytical perspective, the dissertation uses these transcriptions to demonstrate that analysis of polyphonic textures partially relies on an imagined ‘performance’ undertaken by the analyst. Thus, the term analyst-performer is introduced and the multifactorial nature of polyphonic texture is highlighted. In the analysis process, transcriptions are engaged with both as documented (but inevitably partial) records of the transcriber’s interpretation of the work, and also as self-standing pieces. This approach enables the reconciliation of theoretical analysis and experiences of performers. Finally, the thesis also draws on many

Russian/Soviet texts on counterpoint, polyphony, texture, and Bach interpretation. Many of these theoretical and pedagogical materials have not been translated into English, and yet they provide not only historical interest but also many ideas relevant to contemporary musicological discourse. Many written sources about and by the transcribers were studied,

J. S. Bach and the Art of Transcription – Selected Bach Transcriptions by Pianists-Composers,” (DMA diss., University of Maryland, 2012). 6 Jasper Jacobus Saayman, “The Influence of J.S. Bach’s Contrapuntal Style in the Well- Tempered Clavier on Selected Piano Fugues by Romantic Composers,” (Master’s thesis, University of Cape Town, 2011), 11; Meebae Lee, “Schumann's Romantic Transformation of Fugue: “Fugengeschichte,” “The Well-Tempered Clavier”, and “Vier Fugen” Op. 72,” Acta Musicologica 86, no. 1 (2014): 75; Walter Frisch, “Reger’s Bach and Historicist Modernism,” 19th-Century Music 25, no. 2-3 (Fall/Spring 2001-2002): 296-312.

2 including newspaper reviews, books, journal articles, dissertations, printed scores and manuscripts. Libraries and archives in which these were accessed include the Russian State

Library, Russian National Museum of Music Archive, Russian State Archive for Culture and

Arts, Moscow State Conservatory Research Library, St Petersburg Conservatory Library,

Jurgenson Music Library, Yaroslavl Research Library, and the Mayakovsky Central City

Public Library. Overall this study is an example of how treatises written by performers for performers can and should be used to also inform one’s analysis alongside purely theoretical studies.

The opening chapter of this thesis discusses existing definitions and perceptions of the terms ‘transcription’, ‘polyphony’ and ‘texture’. In Chapter 2 various approaches to analysis are presented, and the method that will be used is outlined. The following three chapters apply this analytical method to discussing some of the aspects crucial in the comparison of a transcription to an original: note durations (a factor which influences texture), the use of doubling (a compositional technique), and inferred polyphony (a resultant textural effect).

This is followed by a combined application of the observations made in the earlier chapters to the three works presented in the case studies: Concerto in A minor RV 522/BWV 593/Op 35 mvt 2 (Antonio Vivaldi/Johann Sebastian Bach/Samuil Feinberg), Aria Esurientes implevit bonis from Magnificat BWV 243 (Johann Sebastian Bach/Alexander Ioheles), and Sicilienne from Sonata for Flute and Harpsichord BWV 1031 (Johann Sebastian Bach/Alexander

Nemerovsky and Johann Sebastian Bach/Vladimir Belov).

Both the techniques/factors on which I focus in Chapters 3-5 and the works chosen as case studies were selected during the process of analysing polyphonic textures in a wide range of Russian/Soviet Bach transcriptions with available scores. As my analytical method crystallised, it became obvious that durations, doubling, and inferred polyphony appeared to play a recurrent role in the polyphonic workings of many of the transcriptions and serve as

3 good exemplars of an influential factor, technique and effect respectively. While the initial selection of works for analysis was dictated by the availability of scores, the limitation to only three case studies was made for reasons of space. However, these pieces still provide sufficient material for discussion of the principal points. They show responses to a variety of original instrumentations and are made by transcribers utilising a range of approaches.

Nevertheless, there has been an element of personal preference in the selection process.

One of the issues that arises during the analysis of transcriptions is that of editions. In the cases of most transcriptions it is not possible to know what edition of the relevant Bach score was used by the transcribers. Therefore, drawing conclusions regarding transcriber intentions by means of score comparison often faces the risk of being partially inaccurate, not only due to the subjective nature of these claims but also due to the uncertainty as to which edition was used by the transcriber and the authorship of the score markings. This was one of the reasons that the outlook developed in this dissertation was selected – having a focus on demonstrating an analytical methodology rather than making categorical statements about transcriptions/transcribers’ intentions. The Bach editions that have been used for comparison are from the Bach-Gesellschaft Ausgabe or the Neue Bach-Ausgabe as they are likely to have been known by at least some of the transcribers.7

The limitations in the scope of this thesis leave many directions for future exploration.

Naturally, the decision to focus on Russian/Soviet transcriptions of works of J. S. Bach does not mean that the analytical discussions trialled here cannot be applied to Bach transcriptions from other countries and indeed to transcriptions based on works by other composers, and

7 A sign that the Neue Bach-Ausgabe was known to Soviet musicians in the second half of the 20th century is the editorial note prefacing Anatoly Vedernikov’s transcription of Brandenburg Concerto No 6: “All the tempo and dynamic markings present in the original score are reproduced from the academic edition of 1956* (*the edition of the Göttingen Bach Institute and the Leipzig Bach Archive, 1956); indications included additionally by the author of the arrangement or the editor are given in square brackets.” From: Johann Sebastian Bach, Brandenburgskiy kontsert № 6 [Brandenburg Concerto No 6] (Moscow: Gosudarstvennoye muzykal’noe izdatel’stvo, 1960).

4 even original compositions. Furthermore, in the process of discussing stylistic approaches by the transcribers, comparisons with tendencies within the Russian/Soviet piano school as a whole can potentially be made. The approach of J. S. Bach himself to transcription technique, and the interrelatedness of improvisation, composition, performance and transcription during both the Baroque and the Romantic periods are also related topics worthy of note. Due to the necessity of keeping the focus of this dissertation relatively narrow, these topics are not engaged with extensively, and provide directions for further research.

Chapter 1. Defining transcriptions, polyphony and texture.

Definitions of the terms used to describe a piece that has been reworked from an existing one have not acquired widely-accepted specificity and uniformity; the terms

‘transcription’, ‘arrangement’, ‘reduction’, ‘adaptation’ and ‘paraphrase’ often overlap to various degrees in their usage.1 Similarly, the Russian words used to denote different types of reworkings include the sometimes interchangeable transkriptsyya/транскрипция

(transcription), perelozheniye/переложение, obrabotka/обработка (‘reworking’ like

‘Bearbeitung’ in German), and parafraza/парафраза (paraphrase). In this study I will refer to any work re-written as part of the art-music tradition either for another instrumental medium, or for the same medium in a modified manner, as a transcription.2 Historically, pianist- transcribers have acknowledged the potential boundlessness of the term, with Busoni noting that: “Every notation is, in itself, the transcription of an abstract idea. [...] the performance of a work is also a transcription [...].”3

There have been numerous attempts to categorise transcriptions in general. As an example, Boris Borodin has identified four angles from which to study transcriptions: the instrumental (judging the instrument choice and technical implications), the structure- compositional, the stylistic, and the culturological aspects.4 Regarding differentiation amongst piano transcriptions of the works of J. S. Bach specifically, scholars/performers have often classified them by the extent of alteration to the score, the stylistic viewpoint towards

Bach interpretation, or the transcription’s purpose. The stylistic discussions about

1 Maurice Hinson, The Pianist’s Guide to Transcriptions, Arrangements, and Paraphrases (Bloomington: Indiana University Press, 1990), ix; Malcolm Boyd, “Arrangement,” Grove Music Online, 1 January 2001, accessed 23 March 2019, https://doi.org/10.1093/gmo/9781561592630.article.01332 2 Boyd, “Arrangement.” 3 Ferruccio Busoni, Sketch of A New Esthetic of Music, trans. Theodore Baker (New York: G.Schirmer, 1911), 17-18. 4 Borodin, Istoriya fortepiannoy transkriptsyi, 449.

6 transcriptions often correspond to the broader ‘battles’ around the ‘correct’ performance of

Bach’s works on the modern piano. Glen Carruthers recognised three approaches to pianists’

Bach interpretation, terms used to set up his discussions on transcriptions: subjective, objective, and authentic. The subjective approach describes pianists who impose unlimited changes to Bach’s original score to reflect their personal interpretation. The objective category represents the aim of strict reproduction of the notation of Bach’s score. The authentic category encompasses pianists who strive to reflect the believed performance practices of Bach’s time and may use alterations to the score to do so.5 When discussing interpretation of Bach’s polyphony more broadly, Samuil Feinberg (a Soviet musician whose transcriptions will be analysed as part of this dissertation) has identified the ‘museum- restorational’ (corresponding to the ‘authentic’ or historically-informed approach),

‘ornamental’ (treating the score as an ‘ornament’ in a way similar to the ‘objective’ or an

Urtext-idealising approach), and ‘full-life’ (taking into account broader implications, for example the performer’s consideration of how the audience would perceive the performance).6 Furthermore, many transcriptions with additions have been referred to by scholars as ‘Romanticised’.7 When zooming further into the specific classification of transcriptions from Bach’s organ originals to piano, the Soviet organist, editor and Bach theorist Leonid Royzman identifies two paths for the transcriber: either to prioritise the original text or to recreate the sound of the original instrumental medium.8

5 Glen Blaine Carruthers, “Bach and the Piano: Editions, Arrangements and Transcriptions from Czerny to Rachmaninov,” (PhD diss., University of Victoria (Canada), 1986), 35; Glen Blaine Carruthers, “Subjectivity, Objectivity and Authenticity in Nineteenth-Century Bach Interpretation,” Canadian University Music Review 12 no. 1 (1992): 95-112. 6 Samuil Yevgenyevich Feinberg, Masterstvo pianista [Mastery of the pianist] (Moscow: Muzyka, 1978), 19-21; Samuil Yevgenyevich Feinberg, “Put’ k masterstvu” [Road to mastery], in Voprosy fortepiannogo ispolnitel’stva [Questions of Piano performance], ed. Mikhail Sokolov. (Moscow: Muzyka, 1965), 116-117. 7 Kandinsky-Rybnikov, “Ob interpretatsiyi muzyki I. S. Baha sovetskimi pianistami i organistami” [On the interpretation of music of J. S. Bach by Soviet pianists and organists], in Russkaya kniga o Bahe [Russian book about Bach], ed. Tamara Nikolaevna Livanova and Vladimir Vasilievich Protopopov. (Moscow: Muzyka, 1985), 309-37. 8 Leonid Royzman, “O rabote nad polifonicheskimi proizvedeniyami I. S. Baha i G. F. Gendelya s uchaschimisya-pianistami” [On working on polyphonic works J. S. Bach and G. F. Handel with student-

In most of the above methods of classification, perceived reverence of the original has served either as the primary distinguishing measure or at least as an assumed benchmark, for both transcription analysts and creators. For example, Stephen Pierce discusses Bach transcriptions of the late 19th/early 20th centuries as belonging to either the ‘literal’ or ‘free’ category, separated partially on the basis of how faithful the transcription is to the original.9

The importance of adherence to the original score and/or ‘the composer’s intentions’ became popular not only due to the more widespread interest in Urtext editions, modernism and historical performance, but also due to an overwhelming idealisation of Bach.10

While I believe these classifications hold great potential in aiding associative- descriptive processes in piano pedagogy and performance interpretations (both for the performer and listener), their high degree of subjectivity, and their historical fluidity have caused me to view some of them as too unspecific to be used in making authoritative claims in theoretical score analysis of texture specifically. One example is the problematic use of the term ‘Romanticisation’. Romanticisation is frequently linked to extensive alterations to the score, but Feinberg, who has been described by others as having Romanticised Bach, expressed views against excessive freedom in treating the score, so it may be that the specific borders of what constitutes Romanticisation are different for different musicians.11 Since strict stylistic categorisation is not necessary for the analytical methodology chosen for this study, it will be mostly avoided. However, knowledge of these categorisations is still

pianists], in Ocherki po metodike obucheniya igre na fortepiano [Essays on the methodics of studying playing the piano], 2nd ed, ed. Alexey Nikolaev. (Moscow: Muzyka, 1965), 80-81. 9 Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions,” 22. 10 Stephen A. Crist, “Beyond “Bach-Centrism”: Historiographic Perspectives on Johann Sebastian Bach and Seventeenth-Century Music,” College Music Symposium 33/34 (1993-1994): 57; Leonid Royzman. “K istorii bahovskogo naslediya v Rossii” [On the history of the Bach heritage in Russia], Sovetskaya muzyka 3 (1985): 79-80; Frisch, “Reger’s Bach and Historicist Modernism,” 297. 11 Kandinsky-Rybnikov, “Ob interpretatsiyi muzyki I. S. Baha,” 313-315.

8 important and the categorisations themselves can provide inspiration in the interpretative process.

While it is trivially true that any concept, when put under a high enough magnification, will lose its stability, the contemporary notion of polyphony is particularly amorphous, even for its theoreticians. Although much discussion can be entered into regarding the semiotics of definitions in general, it will suffice to say here that the problem of defining polyphony is an example of the practical problems faced by analysts using a definition chosen by them with an underlying expectation of its objectivity, while not fully taking into account that the term and phenomena are actually highly unspecific. As a result, it appears that in practice, the term ‘polyphony’ is used as a signifier which may depict a whole range of signifieds.12 I suggest that it is useful to think of polyphony as a potentially multi- layered, multi-dimensional time-bound totality of sound, and that current usages of the term often involve focusing on a limited number of factors, the selection of which may differ from those chosen by any other given musician.

A characteristic feature of discourses on polyphony is that the signifier is created in each particular case through the discussion itself. The understanding of the term is frequently set by constructing various borders within which the use of the term would be applicable.

Common categories used to evaluate whether a work is polyphonic include the following: multiplicity of parts, equal importance of several parts at any one point, equal melodic development of individual parts over time, or the subordination of the vertical (harmony) to the horizontal (voice-leading) dimensions.13 It is also worthwhile to ponder over how many of these criteria arise from analyses of works already deemed in popular consciousness to be

12 Mark Andre has also discussed the complexities of the signifier/signified relationship in their application to polyphony; Marc Andre, “On Polyphony (Comments),” in Polyphony and Complexity, ed. Claus-Steffen Mahnkopf, Frank Cox and Wolfram Schurig (Hofheim: Wolke Verlag, 2002), 139. 13 Wolf Frobenius, Peter Cooke, Caroline Bithell and Izaly Zemtsovsky, “Polyphony,” Grove Music Online, 20 January 2001, accessed 28 March 2019, https://doi.org/10.1093/gmo/9781561592630.article.42927.

‘polyphonic’ and how many are identified through alternative reasoning. The variability becomes evident in the Grove Music entry for the term ‘polyphony’, which begins with the following:

A term used to designate various important categories in music: namely, music in more than one part, music in many parts, and the style in which all or several of the musical parts move to some extent independently.14

The complexity of this definition also lies in the lack of clarity in how this term relates to broader analytical categorisations: is polyphony a functional compositional technique, is it a texture, or, is it also a style?

The answer to this question is also variable. The study of intervallic relationships between the voices of multi-voiced, primarily Renaissance and Baroque, compositions

(categorised as polyphonic), and fugal techniques, has found its way into prescriptive and analytical texts under the title of ‘counterpoint’. In English-language education/scholarship

(including available translations, mostly from German), the disciplines of modal and tonal counterpoint and fugue are either studied as one discipline, or as is often the case, subsumed under the study of harmony. Treatises and textbooks on counterpoint range from those created in the pre-Baroque, to those of recent years, as shown by the following selected list of authors (what are thought to be original publication years shown): Gioseffo Zarlino (1558),

Johann Joseph Fux (1725), Luigi Cherubini (1841), August Haupt (1876), Hugo Riemann,

Ebenezer Prout (1890), Hugh Archibald Clarke (1901), Charles Herbert Kitson (1907-1909),

Stewart Macpherson (1907), Heinrich Schenker (1910-1922), Ernst Kurth (1917), Benjamin

Dale (1940), Walter Piston (1947), Kent Wheeler Kennan (1959), William Reginald Pasfield

(1960), Richard Parks (1984), Thomas Benjamin (1986), Robert Gauldin (1988), Markand

Thakar (1990), Harold Owen (1992), Charles Horton (2000), Paul Walker (2000), David

14 Frobenius, “Polyphony”.

Yearsley (2002), Owen Reed (2003), Henry Martin (2005), Peter Schubert (2006).15 Many of these treatises focus on revisiting and reinterpreting ideas of species-counterpoint laid out by

Johann Joseph Fux, with the 20th century also seeing the influence of Heinrich Schenker’s theories.

In Russian-language counterpoint scholarship one of the most influential works has been that of Sergey Taneyev.16 Taneyev, amongst other Russian musicians, had been supportive of the writings of Ludwig Bussler and Ebenezer Prout, having translated some of

Bussler’s work into Russian, and published a preface to Prout’s.17 Russian-language

15 Gioseffo Zarlino, Le Istitutioni Harmoniche (Venice: De Franceschi, 1573); Johann Joseph Fux, The Study of Counterpoint From Johann Joseph Fux's Gradus ad Parnassum, trans. Alfred Mann from Gradus ad Parnassum (Joseph Fux, 1725) (New York: W. W. Norton, 1965); Luigi Cherubini, A Course of Counterpoint and Fugue, trans. James Alexander Hamilton (London: R. Cocks, 1841); August Haupt, Haupt's Theory of Counterpoint, Fugue, and Double Counterpoint, trans. H. Clarence Eddy (New York: Schimer, 1876); Hugo Riemann, Textbook of Simple and Double Counterpoint Including Imitation or Canon, trans. Harrison Lovewell (Leipzig: Breitkopf & Härtel, 1904); Ebenezer Prout, Counterpoint: Strict and Free (London: Augener, 1890); Hugh Archibald Clarke, Counterpoint Strict and Free: Double Counterpoint, Imitation, Fugue and Canon (Philadelphia: Theo Presser Co., 1901); Charles Herbert Kitson, Studies in Fugue (London: Oxford University Press, 1909); Charles Herbert Kitson, The Art of Counterpoint and its Application as a Decorative Principle (Oxford: Clarendon Press, 1907); Stewart Macpherson, Practical Counterpoint: A Concise Treatise Illustrative of Both the Strict and Free Styles (London: J. Williams, limited; New York: E. Schuberth & Co. (J.F.H. Meyer), 1907); ; Heinrich Schenker, Counterpoint, trans. John Rothgeb and Jürgen Thym (New York: Schirmer Books; London: Collier Macmillan, 1987); Ernst Kurth, Osnovy linearnogo kontrapunkta [Foundations of linear counterpoint] trans. Zinaida Ewald from Grundlagen des linearen Kontrapunkts (Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1931); Benjamin Dale, Gordon Jacob, and Hugo Anson, Harmony, Counterpoint and Improvisation. Book 1 (London: Novello Publishing Limited, 2014); Walter Piston, Counterpoint (London: Victor Gollancz, 1947); Kent Wheeler Kennan, Counterpoint. Based on Eighteenth-Century Practice, 2nd ed. (Englewood Cliffs: Prentice-Hall, 1959); William Reginald Pasfield, An Introduction to Counterpoint in the Style of J.S. Bach (London: Joseph Williams, 1960); Richard S. Parks, Eighteenth-Century Counterpoint and Tonal Structure (Englewood Cliffs, N.J: Prentice-Hall, 1984; Thomas Benjamin, Counterpoint in the Style of J.S. Bach (New York: Schirmer Books; London: Collier Macmillan, 1986); Thomas Benjamin, The Craft of Tonal Counterpoint (New York: Routledge, 2004); Robert Gauldin, A Practical Approach to Eighteenth Century Counterpoint (Long Grove: Waveland Press, 1988); Markand Thakar, Counterpoint: Fundamentals of Music Making (New Haven, CT: Yale University Press, 1990); Harold Owen, Modal and Tonal Counterpoint: From Josquin to Stravinsky (Belmont: Schirmer, 1992); Charles Horton and Lawrence Ritchey, Harmony through Melody (Lanham: Scarecrow Press, 2000); Paul Mark Walker, Theories of Fugue from the Age of Josquin to the Age of Bach (Rochester: University of Rochester Press, 2000); David Yearsley, Bach and the Meanings of Counterpoint (Cambridge: Cambridge University Press, 2002); H. Owen Reed, Greg A. Steinke, and Paul O. Harder, Basic Contrapuntal Techniques: An Introduction to Linear Style Through Creative Writing (USA: Belwin-Mills Publishing Corp., 2003); Henry Martin, Counterpoint: A Species Approach Based on Schenker’s Counterpoint (Maryland: Scarecrow Press, 2005); Peter Schubert and Christoph Neidhöfer, Baroque Counterpoint (Upper Saddle River: Pearson Education, 2006). 16 Sergey Ivanovich Taneyev, Podvizhnoy kontrapunkt strogago pis’ma [Movable counterpoint in the strict style of writing] (Moscow: Belyayev v Leipzyge, 1909). 17 Ludwig Bussler, Strogiy stil’ [Strict style] trans. Sergey Taneyev from Der Strenge Satz (Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, Muzykal’nyy sector, 1925); Ebenzer Prout, Fuga [Fugue] trans. A. Timasheva-Bering with foreword by Sergey Taneyev (Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, Muzykal’nyy sektor, 1922).

11 counterpoint scholarship is characterised by a greater distinction between ‘strict’ and ‘free’ styles of counterpoint (strogiy stil’, svobodnyy stil’/svobodnoye pis’mo). This distinction is reflected in similar terms in some German-language texts; strenger Satz (klassische

Vokalpoliphonie) and freier (moderne) Satz correspondingly.18 ‘Strict-style counterpoint’ is the term used to describe counterpoint of the Renaissance rules. Notably, in his work

“Movable Counterpoint in the Strict-style of Writing” Taneyev approaches strict counterpoint from an angle other than the Fuxian one, focusing on mathematical derivations, and deducing the formulaic Index verticalis for composing what he calls complex counterpoint (slozhnyy kontrapunkt), defined as the ability to end up with a new, derivative from the original combination of melodies.19 Taneyev’s theory has only recently started attracting scholarly interest in English-language publications, with suggestions of the potential usefulness of its application to current analytical scholarship.20 The influence of the works of the Germans

Ludwig Bussler and particularly Ernst Kurth (his work on linear counterpoint), may have also encouraged Russian contrapuntal scholarship to take a different route from the Fuxian tradition.21 It has been observed that since post-World War II times Fux’s teachings had not been utilised in any textbooks or study guides in the USSR.22

The label ‘free-style counterpoint’ in Russian has been applied to the analysis of multi-voice works of the post-Renaissance era. Its extensive focus on the linear features of constituent melodies, utilisation of complex intervallic and rhythmic structures, and influence from the technical capabilities afforded by the rise of instrumental music prompts further

18 Ludwig Bussler, Kontrapunkt und Fuge im freien (modernen) Tonsatz einschliesslich Chorkomposition [Counterpoint and fugue in free (modern) composition including choral composition] (Berlin SW: Verlag von Carl Habel, 1912). 19 Taneyev, Podvizhnoy kontrapunkt strogago pis’ma, 10. 20 Denis Collins, “Taneyev’s Theories of Movable Counterpoint and the Music of J. S. Bach,” Bach 46, no. 2 (2015): 22-45. 21 Influential works which may have prompted this include: Bussler, Kontrapunkt und Fuge im freien (modernen) Tonsatz; Kurth, Osnovy linearnogo kontrapunkta. 22 Teodor Myuller, Polifoniya [Polyphony] (Moscow: Muzyka, 1989), 4.

12 integration of thematic and structural elements into contrapuntal analysis.23 While the term

‘free counterpoint’ has occasionally been used in English-language scholarship too, in earlier writings such as those of Hugh Clarke, it is used in a fashion that seemingly often neglects instrumental works with complex textures, while in the more recent work by the likes of

Robert Gauldin, it does not have the same analytical applicability to the widest spectrum of compositions as in the equivalent Russian term.24 It must also be noted that Schenker has written a volume titled Der freie Satz [Free composition]; however Schenker’s studies were practically unknown amongst most Soviet scholars, with the aforementioned text first published in Russian in 2003.25 Criticism of Schenker’s approach from Russian musicologists includes noting his neglect of the role of thematic development and rhythm.26 From my survey of contrapuntal scholarship, I have come to the conclusion that it is the Russian- language contrapuntal scholarship’s development beyond Fuxian-style counterpoint which has allowed its closer integration of counterpoint into analysis of polyphony as a texture, especially when viewed in combination with studies of form and melodic expression by scholars such as Boris Asafiev.27 Once this knowledge is kept in mind, it becomes unnecessary to distinguish between the definition of polyphony as an abstract textural term, and as strictly relating to the Renaissance rules of counterpoint; the term can be used to

23 Anton Pavlovich Arensky, Rukovodstvo k izycheniyu form instrumental’noy i vokal’noy muzyki [Guide to studying form in instrumental and vocal music] (Moscow: Muzgiz, 1921), 25; Viktor Pavlovich Frayonov, Uchebnik polifonii [Textbook of polyphony] (Moscow: Muzyka, 2006), 137-139, 196-197. 24 This is evident in: Clarke, Counterpoint Strict and Free; Gauldin, A Practical Approach to Eighteenth Century Counterpoint, 2. 25 Heinrich Schenker, Svobodnoye pis’mo [Free writing], trans. B. Plotnikov from Der freie Satz (Krasnoyarsk: Krasnoyark Academy of Music and Theatre, 2003); Elena Vyacheslavovna Lagutina, “Genrih Schneker i ego “Uchenie of garmonii”” [Heinrich Schenker and his “Harmonielehre”], (PhD diss. summary., Moscow State Conservatory, 2014), 7. 26 Natalya Olegovna Vlasova, “Genrih Shenker i ego analiticheskaya teoriya” [Heinrich Schenker and his analytical theory], Isskustvo muzyki: teoriya i istoriya 6 (2012): 99. 27 What is essentially species counterpoint is nevertheless still incorporated into it to some extent as is evident from texts ranging from that of Anton Arensky to early chapters of current polyphony textbooks. Arensky, Rukovodstvo k izycheniyu form, 7-24; Frayonov, Uchebnik polifonii, 68-117; Boris Asafiev, Muzykal’naya forma kak protsess [Musical form as a process], 2nd ed. (Leningrad: Muzyka, 1971), 37-58; Anatoly Nikodimovich Dmitriev, Polifoniya kak faktor formoobrazovaniya [Polyphony as a factor of form- creation] (Leningrad: Gosudarstvennoye muzykal’noye izdatel’stvo, 1962).

13 describe the musical fabric’s resultant effects in various ways, one of which could be calculating inherent contrapuntal relationships. This observation is the first step towards understanding the method developed in this dissertation, which will demonstrate how different interpretations influence the analyses of textures inferred from a score.

While in Russian music institutions the course taught to students was previously known as ‘Counterpoint and Fugue’, throughout the 20th century it changed to ‘Polyphony’ to reflect the broader application of the discipline.28 Relevant textbooks and treatises ranging from pre-Soviet to post-Soviet times include those by: Galina Abdullina, Anatoly Dmitriev,

Yulia Evdokimova, Anatoly Milka, Valentina Osipova, Vladimir Protopopov, Natalia

Simakova, Sergey Skrebkov, Sergey Taneyev, Kiralina Yuzhak, and Vasiliy Zolotaryov.29

At this stage one must attend to the definition of texture. Marina Skrebkova-Filatova has stated that “essentially, there is still no united understanding (and even more so, definition) of what musical texture is”, supporting this statement with a list of existing differing definitions.30 In anglophone scholarship Janet M. Levy too has noted the elusiveness of texture as a parameter.31 A sample definition is one given by Valentina Holopova, who

28 Myuller, Polifoniya, 3; Anatoly Milka, Polifoniya. Chast’ 1 [Polyphony, Volume 1] (St Petersburg: Kompozitor, 2016), 11. 29 Galina Vadimovna Abdullina, Polifoniya; Strogiy stil’ [Polyphony; Strict style] (St Petersburg: Kompozitor, 2010); Galina Vadimovna Abdullina, Polifoniya; Svobodnyy stil’ [Polyphony; Free style] (St Petersburg: Kompozitor, 2010); Dmitriev, Polifoniya kak faktor formoobrazovaniya; Yulia Konstantinovna Evdokimova, Uchebnik polyfonii [Polyphony textbook] (Moscow: Muzyka, 2000); Anatoly Milka, Polifoniya. Chast’ 1; Valentina Dmitrieva Osipova, Polifoniya [Polyphony] (Omsk: Izdatel’stvo OmskGU, 2006); Vladimir Vasilyevich Protopopov, Istoriya polifonii; Polifoniya v russkoy muzyke XVII-nachala XX veka [History of polyphony; Polyphony in Russian music of the 17th-early 20th centuries] (Moscow: Muzyka, 1987); Natalia Aleksandrovna Simakova, “Kontrapunkt strogogo stilya kak hudozhestvennaya traditsyya” [Strict style counterpoint as an artistic tradition], (PhD diss., Moscow State Conservatory, 1993); Sergey Sergeyevich Skrebkov, Polifonicheskiy analiz [Polyphonic analysis] (Moscow: Muzyka, 2009); Sergey Sergeyevich Skrebkov, Uchebnik polifonii [Polyphony textbook], 4th ed. (Moscow: Muzyka, 1982); Taneyev, Podvizhnoy kontrapunkt strogago pis’ma; Sergey Ivanovich Taneyev, Ucheniye o kanone [The doctrine of canon] (Moscow: Gosudarstvennoye izdatel’stvo, Muzykal’nyy sektor, 1929); Kiralina Iosifovna Yuzhak, Prakticheskoye posobie k napisaniyu i analizu fugi [Practical aid in writing and analysing a fugue], 4th ed. (St Petersburg: Izdatel’stvo politehnicheskogo universiteta, 2006); Vasiliy Andreevich Zolotaryov, Fuga [Fugue] (Moscow: Muzyka, 1965). 30 Marina Sergeevna Skrebkova-Filatova, Faktura v muzyke. Hudozhestvennye vozmozhnosti. Struktura. Funktsyi. [Texture in music. Artistic opportunities. Structure. Functions.] (Moscow: Muzyka, 1985), 5. 31 Janet M. Levy, “Texture as a Sign in Classic and Early Romantic Music,” Journal of the American Musicological Society 35, no. 3 (Autumn 1982): 482.

14 identifies texture as “the structure of the musical fabric, taking into account the character and relationship of its constituent voices.”32 While she credits the Soviet musicological school for developing the theoretical basis of faktura [texture] and the stable application of the term, she also provides a variety of synonyms for it including: pis’mo [writing], sklad or slozheniye

[how something is compiled], and izlozheniye [how something is presented].33 The term pis’mo has already made an appearance above in relation to the terminology of free-style counterpoint writing.

How then, does the word ‘polyphony’ fit in with ‘texture’? Holopova, alongside most other Russian/Soviet theorists, views polyphony as a subclass of mnogogolosie [multi- voicedness/multi-part]. Other subclasses of this type of texture that have been identified include: organum, podgolosochnost’ [sub-voicedness], heterophony, homophony

(homophonic-harmonic texture), chordal texture, homophonic-polyphonic texture, strata polyphony, pointilism, and sverhmnogogolosie [multi-voicedness with very many voices].34

It is interesting to note that the analogy of the term multi-voicedness, or multi-part, albeit not widespread in English, is also used in German (Mehrstimmigkeit).35 Valentina Osipova has named three types of polyphony: podgolosochnaya (sub-voice, originating from description of Russian folk singing with a subservient, mainly homorhythmic voice to the main melody), contrasting (referring to combination of voices with contrasting themes) and imitative.36

These categorisations are especially important as they are representative of the inclusion of melodically and thematically-oriented analytical techniques in post-Fuxian analysis of

32 Valentina Nikolaevna Holopova, Faktura [Texture] (Moscow: Muzyka, 1979), 4. 33 Holopova, Faktura, 4. 34 Holopova, Faktura, 5-8; Osipova, Polifoniya [Polyphony], 35. 35 Rudolf Flotzinger, “Mehrstimmigkeit,” Oesterreichisches Musiklexikon online, accessed 19 February 2019, ttp://www.musiklexikon.ac.at/ml/musik_M/Mehrstimmigkeit.xml. 36 Osipova, Polifoniya [Polyphony], 35; The fact that Osipova characterises podgolosochnost’ as a type of polyphony, whereas Holopova categorises the former as a type of ‘multi-voicedness’ alongside polyphony is yet another example of inconsistencies in nomenclature.

15 polyphonic textures. Thus, while polyphony is well-acknowledged as a type of texture, questions around the term’s application remain.

Dualities

When attempting to answer most questions regarding whether, to what extent, and by what means an excerpt exemplifies polyphonic texture, the response will most likely be hindered by the realisation of the existing inherent dualities. The first of these is the issue of whether and to what extent music which is to be categorised as polyphonic prioritises the horizontal dimension over the vertical. Sergey Skrebkov refers to the combination and development of independent melodic lines as being essential to polyphony, calling it an ‘ensemble of melodies’.37 Kiralina Yuzhak similarly views the nature of polyphonic fabric as linear and horizontal, with the vertical dimension being only an unavoidable product of multi-part compositions in which horizontal voices, or layers, develop on their own accord.38 While she views this vertical dimension as being an often-accidental derivative of the melodic factor, she does include the dialectical nature of horizontal and vertical dimensions of music in her discussion.39 Historically, multi-part writing has been said to come about as a result of supporting a primary ‘horizontal’ line such as a cantus firmus, subsequently moving through stages of prioritising vertical intervallic contrapuntal relationships, to the final ‘setting free’ of the melody, again making it more independent. This trajectory demonstrates that the concept has never been free from vertical influences.40

The tension between the vertical and horizontal aspects has also been discussed by performers. Feinberg has claimed that

37 Skrebkov, Uchebnik polifonii, 3-4. 38 Kiralina Iosifovna Yuzhak, “O prirode i spetsyfike polifonicheskogo myshleniya” [About the nature and specifics of polyphonic thought], in Polifoniya [Polyphony], ed. Kiralina Iosifovna Yuzhak (Moscow: Muzyka, 1975), 21. 39 Yuzhak, “O prirode i spetsyfike polifonicheskogo myshleniya,” 21-23. 40 Gauldin, A Practical Approach to Eighteenth Century Counterpoint, 2; Evdokimova, Uchebnik polyfonii, 6.

In all the best examples of polyphony we always observe the interpermeability and connection of two artistic principles: the logical change of harmonic elements and the natural melodic movement of each independent voice, in other words an expectable combination of simultaneous sounds, chords and their progressive change as a result of the movement of voices.41

After stating that “on such a reasonable and aesthetically justified approach to polyphony the normal development and education of musicians was built”, Feinberg criticised

some Western theoreticians, who create an aim for themselves of erecting an impassable wall between harmony and counterpoint. Adepts of so-called ‘linearism’ lying at the basis of contemporary formalistic tricks, in vain try to prove that between a free development of voices and harmonic logic exists an unsurpassable contradiction.42

The opinion that vertical constructs were not foreign in structures considered intrinsically polyphonic is demonstrated in the memoiristic recount of Mikhail Glinka referring to “the high ideas of Bach expressed in the clearest way in the simple chords of his [J. S. Bach’s] fugues.”43 As would be expected, contrapuntal techniques also reflect the duality. As an example, the definition of the previously-mentioned Taneyevian slozhnyy kontrapunkt

(complex counterpoint) is based on an awareness of both the horizontal and vertical dimensions, as it assumes vertical and horizontal melodic shifting.44

When listening to a work displaying horizontally-shifted counterpoint, or any work which has highlighted thematic material migrating from voice to voice, either imitative or contrasting (or like in the German Stimmtausch [voice exchange] technique), there is yet another dimension to a polyphonic texture that becomes obvious - the diagonal one.

Skrebkova-Filatova, Evdokimova, Holopova all identify this further dimension, with

Skrebkova-Filatova bringing in the listener interpretation aspect, referring to a ‘diagonal

41 Samuil Feinberg, “Tvorchestvo I. S. Baha i ego znachenie” [The artistry of J. S. Bach and its meaning], in Pianisty rasskazyvayut [Pianists tell], ed. Mikhail Georgievich Sokolov (Moscow: Muzyka, 1990), 162-163. 42 Feinberg, “Tvorchestvo I. S. Baha i ego znachenie,”162-163. 43 Royzman, Leonid, “O rabote nad polifonicheskimi proizvedeniyami,” 63. 44 Myuller, Polifoniya, 55. Some cases of what Taneyev terms vertical-shifting counterpoint are included as part of the label ‘invertible counterpoint’ in English.

17 gliding of attention’.45 Skrebkova-Filatova discusses how the horizontal, vertical and diagonal aspects impact the ‘depth’ parameter, and the resulting polirelyefnost’ [poly-relief, i.e. multi-faceted relief] of the musical texture.46 Holopova also discusses the ‘depth’ or

‘spatial’ parameter which Evgeny Nazaykinsky described as being characterised by the effects of certain sounds coming closer or moving further created by dynamic nuances, rests, tembral effects, use of ‘hollow’ intervals such as perfect fifths, and echoes between different groups.47 The observations of these scholars demonstrate the multiplicity of dimensions that are in action. This is an example of the dialectical nature of polyphony – a crucial aspect which will be elaborated on later in the chapter.

The multiplicity of dimensions prompts scrutiny of another criterion often associated with a polyphonic texture – independence of the lines. In order to avoid excess polemics regarding the definition of the word ‘independence’ itself, it is practical to turn to previous analysts’ perception of this textural feature. Yakov Mil’shteyn notes that in polyphony the voices are melodically independent and equal in meaning, while in homophony the voices are of unequal importance, dividing into the main melodic voice and the harmonic accompaniment. However, he still acknowledges that polyphony and homophony “are not separated by the Great Wall of China. [...] In the depths of polyphony, harmonic thoughts ripen and crystallise”.48

The concept of independence has long been appreciated as having been important in the process of the development of polyphony. Teodor Myuller has noted that the tendency to polyphonisation in conductus of the 13th century occurred by means of gradually overcoming

45 Holopova, Faktura, 9; Evdokimova, Uchebnik polyfonii, 8; Skrebkova-Filatova, Faktura v muzyke, 72. 46 Skrebkova-Filatova, Faktura v muzyke, 68; A ‘diagonal mode of listening’ is also discussed by Claus-Stefen Mahnkopf; Claus-Stefen Mahnkopf, “Complex Music: An Attempt at a Definition,” in Polyphony and Complexity, ed. Claus-Steffen Mahnkopf, Frank Cox and Wolfram Schurig (Hofheim: Wolke Verlag, 2002), 56. 47 Holopova, Faktura, 10. 48 Yakov Isakovich Mil’shteyn, Horosho Temperirovannyy Klavir I. S. Baha [The Well-Tempered Clavier of J. S. Bach] (Moscow: Muzyka,1967), 4-5.

18 the structural subservience of the voices to the text.49 Yuzhak has also claimed, that “in polyphony the voices are functionally homogenous; in a technical way equal in rights, in an expressive way equal in meaning.”50 However, the importance of the independence of the lines is thoroughly challenged by the simultaneous acknowledgement of the necessity for a degree of unity to be displayed overall by the combination of lines. Feinberg has stated that

[…] fluency in polyphony, the ability to hear numerous simultaneously sounding independent lines and to create a multi-voiced fabric of a work lies at the basis both creativity and performative mastery of a musician.51

This demonstrates the importance of the totality that is created by the interacting individual lines, resulting in a high interdependence of the lines and dimensions.

The desire for unity is also visible in the contrapuntal techniques of the compositions.

Anatoly Milka stresses the importance of imitative contrapuntal techniques and the interrelationship of lines in determining the ‘level of polyphonisation’ of an excerpt.52

Similarly an audible effect of unity in the resulting musical sound mass has been considered a sign of polyphonisation, with Myuller using “continuity of the development of the fabric as a whole” as an example.53 The term ‘unity’ in these analyses is usually applied when certain common features exist between voices, as well as the overall coherence and homogeneity of the resulting musical entity.

The enquiry into independent lines heightening the level of polyphony in a work raises the question of whether their independence is in part enabled by their contrasted presentation from the surrounding voices. Therefore it is ambiguous whether making a line more individualised raises it above the rest of the texture and creates a pseudo-homophonic

49 Myuller, Polifoniya, 19. 50 Yuzhak, “O prirode i spetsyfike polifonicheskogo myshleniya,” 7. 51 Feinberg, Samuil “Tvorchestvo I. S. Baha i ego znachenie,” 162. 52 Anatoly Pavlovich Milka, “Otnositel’no funktsional’nosti v polifonii” [Regarding functionality in polyphony], in Polifoniya [Polyphony], ed. Kiralina Iosifovna Yuzhak (Moscow: Muzyka, 1975), 82-89. 53 Myuller, Polifoniya, 19.

19 effect (if one is to think of the characteristics of homophony as having a primary voice aided by homogenised subservient voices). Classifying a texture as homophonic would therefore depend on how long one voice is prioritised for over other voices.

The role of the audible prioritisation of a voice does prompt classification of the layers within a polyphonic composition. Holopova assigns the following potential roles to voices in a composition with both homophonic and polyphonic elements: 1. Main voice. 2.

Collateral voices (melodised counterpoint, figurative counterpoint, imitating voice, subvoice, harmonic sound or voice, pedal point, doubling, characteristic voice or strata) 3. Bass. These roles are not dictated by the pitch height of a voice, can shift between voices as the piece progresses, and some voices can have more than one function.54 Skrebkova-Filatova brings dialectics into view, stating that:

The most important manifestation of a unity of opposites is in the special bifunctionality of the voices within a polyphonic fabric: they are equal-righted on the whole and not equal when sounding together, which is related to the changing roles within the limits of the individual voices”.55

From a performer’s perspective Issaya Braudo has acknowledged that ‘normally it is regarded that multi-voiced texture requires highlighting of one voice or another”.56 Alexander

Goldenweiser, who was one of the most influential Russian/Soviet pedagogues of the 20th century, also stressed that a pianist must remember that “all sounds, even of the ‘third level of importance’ must be heard; however, amongst these sounds one must learn how to find and highlight those, that have an especially important meaning”.57 Nazaykinsky has also said that although it is paradoxical, contrast in simultaneity is better exemplified in a melody-and- accompaniment fabric with vertical harmonic unity rather than when contrasting themes are

54 Holopova, Faktura, 34-46. 55 Skrebkova-Filatova, Faktura v muzyke, 70. 56 Isay Aleksandrovich Braudo, Ob organnoy i klavirnoy muzyke [About organ and clavier music] (Leningrad: Muzyka, 1976), 52. 57 Alexander Goldenweiser, “Sovety pedagoga-pianista” [Advice of a pedagogue-pianist], in Pianisty rasskazyvayut [Pianists tell], ed. Mikhail Georgievich Sokolov (Moscow: Muzyka, 1990), 123.

20 presented in polyphonic combination.58 These examples demonstrate that polyphonic texture encompasses within it a differentiation of lines according to their ever-changing importance, rather than simply a bland unchanging ‘equality’ between them.

From the above discussions on the interdependence of dimensions and the simultaneous expectation of independence and unity, one can see that polyphonic texture really is best viewed from a dialectical perspective. Interestingly, this viewpoint has been brought up in Soviet polyphonic scholarship numerous times, perhaps as a reflection of the then-popular philosophy of dialectical materialism developed by Karl Marx, itself stemming from Georg Wilhelm Friedrich Hegel’s work on dialectic and the theory of ‘unity of opposites’.59 A quotation from Alexander Rovenko shows the integration of this principle into Soviet polyphonic musicology:

And so, the main attribute of polyphonisation is characterised by dialectically contradictory interactions of two polar moments, two opposites: 1. Organicism of individual development of each melodic line (high degree of melodic unity of separate horizontals). 2. Organicism of the combination in simultaneity of all melodic lines (high degree of unity of the overall whole). Consequently, polyphonic texture can approach either one pole (achieve total organic wholeness of each voice, at the price of their organic combination in simultaneity), or the other pole (achieve complete organic wholeness in the combination of all voices in simultaneity, but at the price of their organic individual development) or can be based on a balanced interaction of these poles.”60

The appreciation of a dialectic view of polyphony has been essential in shaping the methods that will be suggested and applied in the analytical chapters of this thesis.

Taking into consideration the multitude of characteristics that a polyphonic texture has, it becomes clear that any particular resulting ‘polyphonic sound mass’ is a result of a

58 Evgeny Vladimirovich Nazaykinsky, “Printsyp edinovremennogo kontrasta” [Principle of simultaneous contrast], in Russkaya kniga o Bahe [Russian book about Bach], ed. Tamara Nikolaevna Livanova and Vladimir Vasilievich Protopopov (Moscow: Muzyka, 1985), 273. 59 Philip T. Girer, Marxist Ethical Theory in the Soviet Union (Dordrecht: D. Reidel Publishing Company, 1978), 41. 60 Alexander Ivanovich Rovenko, “Veduschiy golos v polifonii” [The leading voice in polyphony], in Voprosy polifonii i analiza muzykal’nyh proizvedeniy [Questions of polyphony and analysis of musical works]. (Moscow: Gnessin Academy of Music, 1976), 130.

21 specific combination of influential factors in action at that moment. Texture is said to encompasses the character, ratios and functions of simultaneously developing components of a work.61 Levy has said that texture is dependent on “melody, harmony, and rhythm, and affected by orchestration, register, and so on”.62 It then makes sense that an analysis of a polyphony should include considerations and specifications of the variable factors that create the resulting texture.

Myuller suggested that for an added voice to display polyphonic activity it should exhibit the following features when compared to the other voice/s: complementarity of rhythm; contrasting melodic direction and intervallic character (by skips or steps); differentiated positions of the caesuras; contrasting positions of melodic culminations; and the use of contrasting registers and timbres, manner of performance (legato, staccato, portamento), tonality or modality.63 Milka has also developed a number of criteria for determining the ‘level of polyphonisation’ of an excerpt including points of assessment such as: rhythmic contrast, canonic intensity, and thematic modulation. He acknowledges that

“there are many factors of polyphonisation. In different styles they are different. [...]

However, it seems, that the factor of differing rhythms is one of the most important factors and unites the phenomena of polyphony of differing styles”.64

If one focuses on the point regarding the significance of the contrasting manner of performing different strands of the texture this opens a whole range of factors which may often not be considered when conducting an analysis of polyphonic scores. It seems that the likelihood of the analyst classifying something as polyphonic greatly depends on many factors determined by each individual performance of the work. For example, the degree to

61 Leo Abramovich Mazel’ and Viktor Abramovich Tsukkerman, Analiz muzykal’nyh proizvedeniy [Analysis of musical works] (Moscow: Muzyka, 1967), 331. 62 Levy, “Texture as a Sign,” 482-483. 63 Myuller, Polifoniya, 55. 64 Milka, “Otnositel’no funktsional’nosti v polifonii,” 94.

22 which two lines in a passage doubled at the sixth will be classified as independent or one subservient to the other will largely depend on the dynamic plan, accentuation, tempo, instrumentation, evenness, the way that the surrounding voices are played, and even aspects such as acoustics; all things that have been identified as creating the resulting multi- dimensional mass of sound that is texture. The number of factors influencing the creation of the resulting musical fabric at any one point are potentially infinite. Examples of how performative factors influence categorisation will be presented in the analytical sections of this dissertation.

Furthermore, not only does the musical fabric depend on the performer, but it also changes with every listener. In Soviet musicology this has been the subject of various theoretical studies, such as Nazaykinsky’s work “On Psychology of Musical Perception”.65

Regarding polyphony specifically, Yuzak has stated that “polyphony can only be perceived as such under the condition that the ear splits the texture”.66 The topic of listener perception has attracted relatively high attention in recent years, especially amongst English-language empirically-oriented musicologists.67

The above discussion on the aspects of polyphony and how it is understood in scholarship allows several conclusions to be drawn and a direction for an analytical method planned out. ‘Polyphony’ is a term which acquires a meaning determined by the person using the term. The term in its myriad of usages aims to describe the interaction of a multitude of

65 Evgeny Nazaykinsky, O psihologii muzykal’nogo vospriyatiya [On the psychology of music perception] (Moscow: Muzyka, 1972). 66 Yuzhak, “O prirode i spetsyfike polifonicheskogo myshleniya,” 26. 67 Examples of such studies include: Vinoo Alluri and Petri Toivianen, “Exploring Perceptual and Acoustric Correlates of Polyphonic Timbre,” Music Perception: An Interdisciplinary Journal 27, no. 3 (February 2010): 223-242 nd Stephen McAdams, “Perceptual Processes in Orchestration,” in The Oxford Handbook of Timbre, ed. Emily Dolan and Alexander Reading, June 2018, DOI: 10.1093/oxfordhb/9780190637224.013.10; David Wessel, "Timbre Space as a Musical Control Structure," Computer Music Journal 3 (1979): 45–52, https://doi.org/10.2307/3680283; David Huron, Voice Leading: The Science Behind a Musical Art (Cambridge, Massachusetts: The MIT Press, 2016).

23 factors. In many analyses, the way that polyphony has been understood would focus on one, or a few of the factors without acknowledging the influence of the others. Some analysts would choose to analyse the contrapuntal relationships between the voices, while others would focus on analysing the notated score’s perceived ‘density’ or the number of deducible musical lines. Viewing polyphonic texture from a dialectical perspective allows one to appreciate the interrelation and coexistence of these multiple factors without trying to isolate individual factors, and even taking away the need to specify them in a definition. Polyphony, as any texture, can be thought to exist within a multi-dimensional realm. If a factor interacts with any other factor, a small change in one of them can create a change in the overall textural effect.

Therefore, I suggest that an analytical method adequate for engaging with polyphonic textures must acknowledge the following:

● The nature of the resulting sound-object is multifactorial.

● The interactions of these factors change constantly over time, resulting in a constantly

changing polyphonic entity.

● Performance-determined factors are just as crucial in determining any texture as the

score is. The analytical method may draw on practical pianistic experiences.

Chapter 2. Developing analytical methods.

The multifactorial nature of the concept of ‘polyphony’ causes a dilemma about how best to analyse polyphonic textures. A particularly problematic point is that if an analyst were to choose a single factor to focus on, the particulars of this chosen factor would be directly created by many other factors. To devise an appropriate method for polyphonic analysis it is necessary to position it within the larger field of general analytical methodologies.

The question of how to analyse musical works and the role which analysis plays in relation to the activities of the performer and listener has been the subject of many arguments: Is and should analysis be objective? What informs analysis? What information does analysis provide? Should analysis focus on the theoretical structures or aesthetic/expressive principles? What are the effects of linguistic and symbolic limitations?

What precisely it is that even needs to be analysed at all?1 One of the characteristic dilemmas regarding music analysis has been the search for, or denunciation of claims to, objectivity in music. Lawrence Ferrara exemplifies the latter position: “That knowledge is objective is of course a myth, whether it refers to music, the other arts, or the sciences.”.2 Jeffrey Swinkin has argued the following view on analysis ‘as fact-finding’: that “higher structural levels are not truths” which need expression.3 In what follows I will present an overview of scholarship on the role of analysis, which will lead to the development of an eclectic method of polyphonic analysis, and use it to analyse the textural implications in selected Russian/Soviet transcriptions of J. S. Bach.

1 Studies dealing with these questions are referenced in the discussion below. 2 Lawrence Ferrara, “Phenomenology as a Tool for Musical Analysis,” The Musical Quarterly 70, no. 3 (Summer 1984): 355. 3 Jeffrey Swinkin, Performative Analysis: Reimagining Music Theory for Performance (Rochester: University of Rochester Press, 2016), 16, 22-23.

Analysis has been separated into ‘descriptive’, or ‘suggestive’/‘prescriptive’ analysis depending on its nature and claims.4 More generally, one viewpoint has been that the score provided by the composer already has, inbuilt into it, specific elements ready to be discovered and recognised by the analyst. Score-centric analysis based on classifying notes on the page has frequently been conducted without any reference to the listener or performer, a practice referred to by Tim Howell as ‘analysis for analysis’s sake’.5 However, some scholars have further demanded that these putatively authoritative elements of the score be used and acknowledged by the performer and/or listener. This attitude could be described as assigning to analysis the role of informing the performer or listener. Edward T. Cone has, for example, claimed that “An analysis is a direction for a performance”.6 Furthermore, Eugene Narmour gives judgements to performances as if their level of correctness was more or less objectively measurable, depending on the degree to which they conform to his analytical expectations.7

This view has been critiqued by Nicholas Cook and Jeffrey Swinkin amongst others.8

Narmour has also taken the authority of the score into the realm of listener perception claiming that the analysis, when realised ‘correctly’ by the performer, influences the listener.9

Regarding the function of analysis in informing the listener, Anca Preda-Ulita’s observation that “Schenkerian analysis should reveal compositional purposes, musical and extra musical

4 Alissandra Reed, “An Applied Approach to the Descriptive Analysis of Music as Heard,” (Masters thesis, The Ohio State University, 2017), 6; David Temperley, “Composition, Perception, and Schenkerian Theory,” Music Theory Spectrum 33, no. 2 (1 October 2011): 146–168, https://doi.org/10.1525/mts.2011.33.2.146; David Temperley, “The Question of Purpose in Music Theory: Description, Suggestion, and Explanation,” Current Musicology 66 (1999): 66–85. 5 Tim Howell, “Analysis and Performance: The Search for a Middle Ground,” in Companion to Contemporary Musical Thought, Volume 2, ed. John Paynter, Tim Howell, Richard Orton and Peter Seymour. (London: Routledge, 1992), 693. 6 Edward T. Cone, “Analysis Today,” The Musical Quarterly 46, no. 2 (1 April 1960): 172, https://doi.org/10.1093/mq/XLVI.2.172 . 7 Eugene Narmour, “On the Relationship of Analytical Theory to Performance and Interpretation,” in Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. Leonard B. Meyer, Eugene Narmour, and Ruth A. Solie (Stuyvesant: Pendragon Press, 1988), 325. 8 Swinkin, Performative Analysis, 12; Nicholas Cook, “Analysing Performance and Performing Analysis,” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 240. 9 Narmour, “On the Relationship of Analytical Theory to Performance and Interpretation,” 317.

26 associations, and ideas to bring into one's listening experience of the piece” is an exemplary articulation of this view.10 Even the studies of Stacey Davis and the empirically-oriented

David Huron are essentially centred around categorizing how listeners respond to specific elements classified on the basis of their notation; it is implied that these pure analytical features of the score have an objective existence.11 By contrast, Dillon Parmer is a musicologist-performer who is openly sceptical of the value of analysis/musicology to performance at all.12 The range of attitudes to analysis also extends to Kevin Korsyn’s questioning of the value of contemporary discourse on music analysis.13

Nevertheless, the performance itself has also been said to be an act of analysis.

Jonathan Dunsby has observed that “the moment we perform something other than a copy of someone else’s performance we are, if we choose to be articulate about how such an interpretation is devised, analysing the music”.14 This of course, could raise many questions such as when exactly does a performance become a copy of someone else’s. Performance- centred analysis in its various forms has been gaining widespread attention in recent decades.

Cook focuses on analysing recorded performances utilising a rather quantitative approach, while Joel Lester shows how analysis can benefit from the intuitive interpretation of a performer.15 Recently studies such as Alisa Bernhard’s have also engaged with the view that

10 Anca Preda-Ulita, “Structure and Voice-Leading,” Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts 8 (57), no. 2 (2015): 80. 11 Stacey Davis, “Implied Polyphony in the Solo String Works of J. S. Bach: A Case for the Perceptual Relevance of Structural Expression,” Music Perception: An Interdisciplinary Journal 23, no. 5 (June 2006): 423-446; David Huron, “Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles,” Music Perception: An Interdisciplinary Journal 19, no. 1 (Fall 2001): 1-64, https://doi.org/10.1525/mp.2001.19.1.1. 12 Dillon Parmer, “Musicology as Epiphenomenon: Derivative Disciplinarity, Performing, and the Deconstruction of the Musical Work,” repercussions 10 (2007): 8-56. 13 Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research (New York: Oxford University Press, 2003), 3-4. 14 Jonathan Dunsby quoted in John Rink, “Playing in Time: Rhythm, Metre and Tempo in Brahms’s Fantasien Op 116,” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 2005), 255. 15 Nicholas Cook, Beyond the Score: Music as Performance (Oxford: Oxford University Press, Oxford Scholarship Online, 2014), https://doi.org/10.1093/acprof:oso/9780199357406.001.0001; Joel Lester, “Performance and Analysis: Interaction and Interpretation,” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 2005), 197-216.

27 performance can inform analysis.16 Swinkin, in his work ‘Performative Analysis:

Reimagining Music Theory for Performance’ acknowledges the works of analysts such as

Cook and Lester as providing much-needed opposition to the score-centred ‘hegemony’.17

Swinkin himself, however, takes an approach in which analysis does not describe the way one hears a piece, and does not prescribe a way one should hear or perform a piece, rather suggesting a way one could. Analysis, Swinkin purports, is ‘performative rather than factual’.18 Peter Walls states that ‘all written music requires interpretation’ similar to a foreign language.19 However, similar to written language, the notation of a musical work has been shown to specify many fewer parameters than those present in an audible version of the work. Nicolas Marty, for example, describes notation as having ‘very general parameters with very few variables’.20 To further complicate matters, the process of putting an analysis into words adds more complications to the task of accurately and comprehensively describing the overall musical entity.

No doubt many analysts, including some of those mentioned above, have considered the benefits of a conceptualisation of analysis as merging the ‘analysis of the printed score’ and ‘analysis of the performance’ approaches. Howell writes that while ‘adopting a somewhat ad hoc amalgam of various analytical approaches [...] is an alienating concept to many analysts’, it may achieve the middle-ground in which a performer already stands.21

Howell considers that performance-oriented analysis can become too authoritarian, and it is just as important for the performer to move between ‘rationalisation and instinctive

16 Explored in: Alisa Yuko Bernhard, “The Pianist’s Freedom and the Work’s Constrictions: What Tempo Fluctuation in Bach and Chopin Indicate,” (Master’s thesis, University of Sydney, 2016). 17 Swinkin, Performative Analysis, 11. 18 Swinkin, Performative Analysis, 16. 19 Peter Walls, “Historical Performance and the Modern Performer,” in Musical Performance: A Guide to Understanding, ed. John Rink (Cambridge: Cambridge University Press, 2002), 18. 20 Nicolas Marty, “Semiotic Narrativization Processes,” in Music, Analysis, Experience: New Perspectives in Musical Semiotics, ed. Costantino Maeder and Mark Reybrouck (Leuven: Leuven University Press, 2015), 110. Here Marty draws on ideas of Tevor Wishart. 21 Howell, “Analysis and Performance,” 697.

28 projection’, as it is for the analyst to work in two directions.22 Roy Howat mentions intuition, concluding that ‘our reasoned, stylistic, analytical assimilation of a score is (ideally) followed by the lightning intuition that releases a performance into living sound”.23 Performance analysis has also found its place in the form of the historically-informed performance movement, which allows the analysis of elements of performances, either identified from audio/visual recordings, or from written sources, to then inform other performances.

This brings us to the point that analysis itself can be considered a form of interpretation or performance, for lack of a better word, albeit one accessible fully only to the analyst, as it is realized by them in their mind. Or, as Kofi Agawu put it: “What if we conceive of analysis as a mode of performance, or as a mode of composing, not as an unveiling of resident truths, not as an exercise in decoding?”24 While I would like to acknowledge the undeniable value of the notated score in analysis, the first part of Agawu’s quote is coherent with the method of analysis applied in this thesis. Any analysis that may be subsequently recorded by the analyst on paper, will not be able to record all the many factors of the envisaged and experienced work that gave rise to the analysis itself, no more than a description of a performance will capture everything about the decision-making that led to this, and no more than a composer’s score will record the precise way the work was imagined.

Models of analytical communication which take into account only the composer- performer-listener triad are still not all-inclusive as they often fail to account for the editor, and, if applicable, the transcriber, amongst other potential links in the chain. Furthermore, directionality (whether the score informs the interpreter, or the other way around) and

22 Howell, “Analysis and Performance,” 709-710. 23 Roy Howat, “What Do We Perform?” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 2005), 19. 24 Kofi Agawu, Music as Discourse: Semiotic Adventures in Romantic Music (Oxford: Oxford University Press, Oxford Scholarship Online: October 2011), 5, htts://doi.org/10.1093/acprof:oso/9780195370249.001.0001.

29 functionality of the method are not the only debated questions amongst theoreticians who study analytical methods. The aesthetic, expressive, and theoretical bases of analytical techniques have been widely discussed. This question has been particularly important in regards to Soviet music, as the debate regarding formalism and anti-formalism achieved political significance.25 I believe it is more applicable to use an analytical technique which does not fall into either extremes of exaggerated structural formalism or into imposed expressivity with claimed objectivity. Questions as to whether analysis needs to be theoretically or aesthetically oriented have been popular amongst scholars such as Carl

Dahlhaus and Nicholas Cook, with the latter finding an inherent linguistic fault in Dahlhaus’s view of a ‘continuum, an infinite gradation of shades’ between the two types of analysis.26

The central portion of this dissertation deals with how analysing transcriptions enlightens our understanding of techniques used in polyphonic textures. As I was conducting my initial analysis, the aspect that bothered me was the very inability of existing analyses to agree on even primary questions such as what a polyphonic texture is, or what is meant by a

‘Romanticised’ transcription, or a ‘faithful’ transcription, not to mention the vexed concept of

‘the composer’s intentions’. Over time, I came to believe that these multiple contradictions were a consequence of attempting to authoritatively explain and define in a blanket way something which is itself created by many factors, utilising limiting analytical approaches while sometimes claiming or attempting to make them all-encompassing. Being under the influence of the perception of a musical work as a specific and specifiable entity, the moment multiple factors are taken out of consideration, which inevitably happens in analysis, the analytical result will never feel entirely satisfactory, and never give due justice to every

25 Katerina Clark and Evgeny Dobrenko with Andrei Artizov and Oleg Naumov, Soviet Culture and Power: A History in Documents, 1917-1953 (New Haven: Yale University Press, 2007), 229. 26 Carl Dahlhaus, Analysis and Value Judgment (New York, 1983) quoted in Cook, “Analysing Performance and Performing Analysis,” 254.

30 possible feature of the work, for as soon as one element becomes the focus, the functions of the other elements change from what they would have been had the focus been on them.

Therefore, when one analyses something, the resulting work-as-a-whole changes. I could not stop feeling that as an analyst I was in the position of a dog in a never-ending race to catch its own tail.

Acknowledging this situation has allowed me to apply the approach presented here.

Firstly I recognise the multifactorial nature of polyphony, the very existence of the constituent analysable elements which are the result of the interaction of many other factors.

The effect of these factors should, I believe, be acknowledged, even if they cannot and arguably should not be quantified. Then, it must be realised that many of these factors are non-notated factors. The fact that they do not exist on paper does not mean that they do not exist in the analyst’s mind (the analyst being either the theorist or the performer). For example, many elements discussed when analysing polyphonic textures include identification of independent voices and the roles these play. However, whether or not a voice can be perceived as independent is often a result of how the piece is played, what dynamics, accents, acoustics and many other factors are given to it by the performer. Features such as intervallic tension, structural tension between bigger sections, vertical and horizontal rhythmic and pitch contrasts, and aural discernibility, all of which have been assessed in existing analyses are in fact all influenced and partially co-created by unnotated factors. When analysing seemingly solely from a score, the analyst should therefore acknowledge that the decision to assign relative importance to a voice in a texture a certain importance comes from what we might call their own ‘performance’ of the work. Even if the analyst claims to be focusing only on, for example, the rhythmic independence of a line, their judgement of ‘independence’ will be based on their internal performance of the work, perhaps with minimal variability of other factors, such as dynamics. This does not mean that the dynamics do not exist in the

31 performance, and in practice they do influence the analyst’s judgement of the rhythmic independence.

The next point to acknowledge is that the factors, their interactions and therefore the result, are things that actively change over the time of the performance.27 I suggest viewing the musical work as a changing entity of multiple dimensions; the moment one factor changes, instantly the others change in relation to it as well. If a crescendo be added, the way it will be played will influence the sounding length of a note, as well as multiple other factors, resulting in a different texture. While not aiming to reach the unattainable, and arguably unnecessary aim of objectivity, a texture analyst may benefit from specifying certain performance conditions under which they are able to make their analytical claims. For example, instead of making a statement that a melody is ‘compound’, an analyst could make the statement that certain conditions such as articulation markings may result in the melody being considered a compound melody.

The following chapters will demonstrate how it is beneficial to analyse polyphonic textures from a perspective which

● acknowledges the multi-factorial essence of texture, dynamically changing over the

course of the piece.

● acknowledges that analytical conclusions are mediated by an imagined, or actual

performance.

● attempts to specify some of the factors affecting a textural conclusion.

Prior to commencing the analytical chapters there is one last link to add to the chain: the Bach transcriptions themselves. The similar multifactorial nature of transcriptions (which

27 They also change from performance to performance.

32 results in the inability of analysts to decisively categorise them, and therefore confidently discuss this question), makes an approach which presents various theoretical conclusions afforded by a consideration of performative factors to be especially valuable. The alterations made by the transcriber to the original score specify instructions regarding some factors, and open a selection of other interpretations in parallel to the possible interpretations the original score might prompt through tradition and association. Any score additions can be seen as a recorded specification of selected features of the work as heard in the transcriber’s imagination, and influence the analysis of the textures of both the original work and the transcription. However, in parallel with this comparative approach, once the transcription is thought of as an independent work, many of the notated additions, except score markings, lose their function of providing greater specificity. Studying the transcription with the analytical viewpoint described above will allow one to see the applicability of this technique on a variety of levels, leaving space for its extension into the study of polyphony in works other than transcriptions.

The benefits of this analytical outlook, which in a way is itself ‘polyphonic’, are multiple: it allows the analyst to reconcile aesthetic and expressive artistic idealism with objectivity-claiming theoretical analysis techniques and categorisation; to make statements without objectifying subjective claims; and to make theoretical analysis more performer- aware, and theoretical analysis more relevant for performers in a non-dictatorial way. It also adds another layer to the performative analysis approach, by moving past the idea that such a method of analysis must include analysis of audio recordings, which play only a peripheral supporting role in the analytical methodology I follow here.

In the following three chapters, a factor (note duration), a transcription technique

(doubling), and a resultant textural effect (inferred polyphony) will be analysed as they are found in Russian/Soviet transcriptions of works of J. S. Bach. The specifics of the factors

33 influencing the resultant texture (for example how long a note sounds for) are determined not only by the prescriptive nature of the notated score, but also by various elements determined by performance. Therefore, the term analyst-performer finds its place, and the analyses show that the way that an analyst imagines a texture is a result of their own ‘mental’, or realised performance of the work, specifying these features.

Part 2

Chapter 3: The role of changing factors; note durations.

To demonstrate the importance that changing factors play in arriving at conclusions regarding polyphonic textures, note durations in Russian/Soviet transcriptions of works of J.

S. Bach are discussed in this chapter. Effective note lengths, through a combination of their notated value, the marked (or implicit) articulation, and the performer-provided effects such as pedalling, have a wide range of implications for the analytical interpretation of polyphony in a work. Transcriptions of works by J. S. Bach can be used to track the importance which both notated and effective note lengths have on the resulting polyphonic textural classifications.

Perhaps most importantly the factor of note lengths has an impact on the degree of polyphonic activity of a work. A primary feature considered in analysing a work’s polyphonic aspects is the rhythmical interrelationship between the individual melodic lines.

Since note lengths affect the polyphonic activity through creating the specific rhythmic patterns of the work, the significance of rhythmic patterns will be discussed first.1 While rhythmic patterns may initially be seen as primarily created by the points at which notes are commenced, throughout the chapter I will adhere to the principle that resulting rhythmic patterns are influenced just as much by the points at which notes are released. This is the reason why it is the effective length of the note, rather than purely its notated length, which gains primary importance in textural analysis.

In Soviet musicology the overlaying of rhythmic patterns is said to be significant for the history of the development of polyphony. Myuller, for example describes the appearance

1 Frobenius et al., “Polyphony”; Milka, “Otnositel’no funktsional’nosti v polifonii,” 94.

35 of more complex ratios between the constituent notes of two simultaneous lines as leading directly to polyphonisation of a two-part texture, in contrast to the simultaneously-developed discant countermelodies in 11th and 12th-century organum which were based on the ‘note against note’ principle. He refers to the rhythmic individualisation of voices, especially in organum duplum, as being the basis of the development of polyphony.2 One should search for the basis of this development, he claims, in folk ‘multi-part’ music and in tropes, alleluias, graduals and organa (of neumatic and melismatic types) elaborating chorale tunes.3 Using

Taneyev’s terminology we can say that in strict-style counterpoint the variety of rhythmic patterns between the voices is minimal, creating high numbers of simultaneously taken notes.4 However in ‘free [contrapuntal] style’ the syncopations can be complex and varied, and contrasting dotted rhythms can be found.5

The resulting level of polyphonic activity has been studied by the Soviet/Russian scholar Anatoly Milka. Milka suggests a variety of techniques which can serve as a measure of polyphonisation, all of which are essentially dependent on the level of contrast between voices. Firstly in strict-style counterpoint, the higher the number of times in which notes from different voices simultaneously occur on the first beat of the bar rather than at random times throughout the bars, the lower the level of polyphonisation.6 Furthermore, the polyphonisation level is higher when fewer notes are ‘taken’ (i.e. commenced/struck) simultaneously. Milka also takes thematic factors such as canonic intensiveness and structural modulation into account when describing polyphonisation.7 The assessment criterion of the

2 Teodor Myuller, Polifoniya [Polyphony] (Moscow: Muzyka, 1989), 13. 3 Myuller, Polifoniya, 13. 4 Either long note values in one voice are contrasted with shorter note values in the other, or one voice is allowed to be offset against the other by means of syncopation. 5 Stepan Stepanovich Grigoryev and Teodor Fridrihovich Myuller, Uchebnik polifonii [Polyphony textbook] (Moscow: Muzyka, 1977), 42. 6 The less gravitation towards the first beat, the more polyphonic. 7 Canonic intensiveness encompasses the following principle: the sooner entries come after the original theme, the more imitative and the more frequent these entries are, the higher the degree of polyphonic activity. Structural modulation refers to the use of thematic material to link two structurally different sections; for

36 number of simultaneously sounding notes depends on notated and effective durations of the notes which make up the texture. While Milka’s theory relies on correlation of note incidence in the score, I extend this theory to consider the actual duration of the note. For example, a passage in which one voice has a note sounding for the duration of a whole crotchet, while the other voice has one quaver and a quaver rest will be judged more polyphonically active than if both voices have a quaver followed by a quaver rest.8

Within the context of a specific analysis Braudo suggests that voices in a multi-voiced work for keyboard have a tendency to group together, noting that conversely, contrasting rhythmical motives are also able to ‘stratify’ and subdivide the work’s texture into horizontal layers.9 This can be extrapolated to mean that passages with multiple monorhythmic lines lend themselves to be perceived more easily as a unified layers, whereas differences in the rhythmic patterns of various lines cause the texture to be perceived as multi-layered more easily.

The idea of ‘polyphonising’ a piece by means of complexifying the vertical rhythmic interrelationship of its voices is already found in Bach’s own treatment of chorale melodies.

Bach’s chorale prelude settings range from simple ‘individualisation’ of an inner voice by means of adding an off-beat quaver contrasting to the crotchets in the surrounding parts, to chorale preludes with rhythmic complementarity of parts (such as in the Jesus Christus, unser

Heiland BWV 665), and finally to chorale fugues with voices containing written-out melismas and ornamental figures (such as Allein Gott in der Höh' sei Ehr BWV 662).10

example, while in one voice a clear change in thematic material may be visible at a certain point, another voice may contain a theme which lasts from the end of the first section and into the start of the new section, making the change in the first voice not abrupt; Milka, “Otnositel’no funktsional’nosti v polifonii,” 63-103. 8 The effect of the decay of the piano sound must also be considered. 9 Braudo, Ob organnoy i klavirnoy muzyke, 38. 10 Russell Stinson, J. S. Bach’s Great Eighteen Organ Chorales (Oxford: Oxford University Press, 2003), 101- 102, 72.

The intensification of polyphonic activity by the addition of rhythmically contrasting figures into the score can be found in numerous transcriptions. In her study of Siloti’s work,

Svetlana Izotova observes this polyrhythmic treatment as a typically Romantic technique. As an example of this technique Izotova quotes the addition of the sextuplet by Siloti in bar 53 of the Sinfonia from Cantata BWV 29, compared with its original in Figures 3.1 (a) and 3.1

(b).11

Fig. 3.1 (a). Bach: Sinfonia from Wir danken dir, Gott, wir danken dir BWV 29, bar 53.12

11 Svetlana Alekseevna Izotova, “A. I. Siloti i ego rol’ v retsepsyi tvorchestva I. S. Baha” [A. I. Siloti and his role in the reception of J. S. Bach’s work], (PhD diss., Saint Petersburg State Conservatory, 2015), 122. 12 Johann Sebastian Bach, Cantata BWV 29, in Bach-Gesellschaft Ausgabe, ed. Wilhelm Rust (Leipzig: Breitkopf und Härtel, 1855), 279.

Fig. 3.1 (b). Bach/Siloti: Sinfonia from Wir danken dir, Gott, wir danken dir BWV 29, bar

53.13

Rhythmic complexification could be considered one of Siloti’s staple alteration techniques.

Another interesting example can be seen in the concluding section of his transcription of

Prelude in B minor shown in Figure 3.2.

Fig. 3.2. Bach/Siloti: Prelude in B minor, from Prelude BWV 855a, bars 17-23.14

13 Alexander Siloti, The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo (New York: C. Fischer, 2003), 83. This example was selected for quotation in Svetlana Alekseevna Izotova, “A. I. Siloti i ego rol’ v retsepsyi tvorchestva I. S. Baha” [A. I. Siloti and his role in the reception of J. S. Bach’s work], (PhD diss., Saint Petersburg State Conservatory, 2015), 122. 14 Alexander Siloti, The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo (New York: C. Fischer, 2003), 17.

The rhythmic pattern in the left hand of bars 18 and 19 is complexified in bars 20-21, to include a triplet. The triplet of course provides further rhythmical discordance with the regular semiquaver pattern. The addition of these patterns to the left hand part in comparison to notes played on every minim beat for the larger part of the prelude, would for Milka give the resulting texture a heightened degree of polyphonisation due to a higher number of notes that are not executed simultaneously.

Interestingly, this example also serves to demonstrate a potential evolutionary source of this technique – the arpeggiated chords in bar 17, preceding the written-out arpeggios.

Chordal arpeggiations of various types have been a long-standing technique of keyboard literature and performance practice. Chordal arpeggiations have been covered in C. P. E.

Bach’s treatise as well as more modern-day works such as those of Frederick Neumann.15 It is known that in the 19th and early 20th centuries a number of pianists employed unnotated arpeggiation quite freely, as is highlighted in studies of early recordings such as Theodor

Leschetizky’s performance of Chopin’s Nocturne Op 27 No 2.16 A similar effect can be seen with note displacement, both between the hands, and between different melodic lines. The use of arpeggiation and displacement can and has been used to demonstrate what the analyst- performer sees as polyphonic implications within a texture, and can also be attributed to the polyphonisation effect being exaggerated by the higher rhythmic contrast between different note durations within different layers of the piece.17 Therefore, performance practice also plays a role in altering the effective durations of notes.

15 Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music: With Special Emphasis on J. S. Bach (Princeton: Princeton University Press, 1978), 493-497; Carl Philipp Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen; Teil 2 [Essay on the true art of playing keyboard instruments; Part 2] (Berlin: George Ludewig Winter, 1762), 339, 343. 16 Neal Peres Da Costa, Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford University Press, 2012), 134. 17 Peres Da Costa, Off the Record, 134.

If one is to consider further performance-practice issues, the question of evenness of passages also arises. While unevenness in passages (for any reason; be it chosen rubato, intentional displacement, or so to say, incompetence) can similarly create displacements and increase voice distinction, its use or lack thereof in transcriptions generally comes in the context of written-out ornamentation which some transcribers utilised. It was not only in the context of transcriptions that ornaments had been written out. In 19th and 20th- century editions of these works it was commonplace to see a ‘decoding’ of an ornament shown above a stave, as a footnote, or in some cases even written into the melodic line. Referring to this,

Royzman stated that editors enforcing their decodings of the ornaments cannot escape artistic failure, and ornamentation interpretation should not be viewed with a dogmatic approach.18

Subsequently, when discussing the views of François Couperin and C.P.E. Bach on the speed with which a trill should be played– whether to be played regularly, or with accelerations/slowing down – Royzman speculates that it may be possible that Bach had preferred the ‘even trill’, unlike Couperin’s ‘uneven’.19 A similar interpretation of trills as

‘even’ can be seen in Feinberg’s transcriptions which include multiple examples of a trill written out in consistent rhythmic values.

The influence of evenness of written-out trills, as well as the performance practices and expectations of arpeggiation and displacement, on the textural result, can be examined in recordings of works of J. S. Bach made by some of the transcribers. Feinberg’s recordings of the Well-Tempered Clavier do not reveal any notable displacements or arpeggiations.

Interestingly, the trills in Feinberg’s recordings of his own transcriptions are not articulated in

18 Leonid Royzman, “Ob ispolnenii ukrasheniy (melizmov) v proizvedeniyah starinnyh kompozitorov” [About the performance of decorations (melismas) in the works of olden composers], in Ocherki po metodike obucheniya igrye na fortepiano. Vypusk vtoroy [Essays on the methodology of teaching piano playing, Volume 2], ed. Alexander Aleksandrovich Nikolaev. (Moscow: Muzyka, 1965), 98. 19 Royzman, “Ob ispolnenii ukrasheniy,” 112-113.

41 a determinately measured way, occasionally including tempo alterations.20 This is in contrast to the extensive use of written out measured trills in the scores of Feinberg’s transcriptions.

There is also limited use of displacement alongside the use of unmeasured trills in Feinberg’s performance of his own transcription of the Organ Prelude BWV 662. Overall Feinberg’s interest in displacement seemed relatively limited.21 On the other hand, Siloti’s piano roll recording of Theodor Szanto’s transcription of the chorale prelude Aus der Tiefe rufe ich demonstrates arpeggiation, displacements and measured trills, which are most likely not solely due to piano roll reproduction technology, but a choice made by Siloti.22 This demonstrates that consideration of the effect of displacement, arpeggiation and ornamental evenness on the resulting texture in Bach transcriptions is necessary as the scope of the usage of these techniques varies widely. As the stylistic approaches evident in transcribers’ interpretations of Bach’s works at the piano could either partially correlate or not to features indicated in transcription scores, rather than exposing a transcriber’s specific ‘signature’ approach, the value of these recording analyses is in demonstrating the potential flexibility in the pianistic realisation of a transcription score.

The notated note values also may or may not effect decisions about other performative factors such as dynamics. Goldenweiser had stated that:

We may set the rule that the degree of force of every note is directly proportional to its length; the shorter the sound, the weaker it needs to be played. Needless to say, this principle should not be taken arithmetically. If sixteenth notes are played exactly four times as weak as a quarter note, this will have the effect of mechanical playing. Having set a certain principle, one must strive towards ensuring this principle does not become a death-like scheme.23

20 It must be noted, that many editions in use at the time of S. Feinberg did have many additions, but even the popular Bruno Mugellini edition did not have displacements/arpeggiations specified. Analysed: Well-Tempered Clavier accessed from https://youtu.be/OzerJmdStq8 and https://youtu.be/9fU40nXwQts, Largo from Sonata BWV 529, accessed from https://youtu.be/DvG15UKqDVA, Prelude and Fugue BWV 548 rec. 1948 accessed from https://youtu.be/15A__1KNX_A, Prelude BWV 662 accessed from https://youtu.be/FxX0-oLVQNE, all on 23 March 2019. Specific sources of recordings were not verified. 21 Samuil Feinberg, J. S. Bach. Clavier Works. Organ Works (Jimmy Classics, 1997), OM 03-130. 22 “Siloti, Alexander ‘Duo-Art,’” YouTube, accessed 14 January 2019, https://youtu.be/OjCEcTc3WgI. 23 Goldenweiser quoted in Alexander Nikolaev, “Ispolnitelskiye i pedagogicheskiye printsypy A. B. Goldenveyzera” [The performing and pedogogical principles of A. B. Goldenweiser] in Mastera sovetskoy

Alexander Nikolaev interprets these words of Goldenweiser to conclude that refined dynamic nuancing can help counter mechanical, soulless evenness of consecutive notes.24

Having deduced that contrast between voices is a substantial feature of polyphonisation, the question of note-value choice by the transcriber then arises. At this stage it becomes necessary to observe the difference between the sounds an organ and a piano produce as this has enormous ramifications for the decisions made both by the creators of transcriptions of Bach’s organ scores for piano and the analysts who have engaged with these transcriptions. Braudo observes that there are times in which a composer overloads an organ score with prolonged notes which results in the eclipsing of the movement of ‘information- containing’ voices.25 The polyphonic degree of a texture can be obscured by oversustained pitches, even when they offer rhythmic contrast to the other voices. Consequently, once again, when choosing a technique to achieve an effect of heightened polyphonic activity for the listener there must be a limit to the strength and number of sustained notes used, before they start to have the contrary effect of obscuring the complexity of polyphonic interactions.

This is similar to the restraint which must be exercised when choosing the number of individualised voices: too many causes the lines to be indistinguishable, and the concept of unity completely eclipses the concept of contrast, therefore rendering the audible result as not polyphonic.

It is important to note that Braudo’s aforementioned observations referred to organ music. He notes that given the quality of the sound produced on an organ, not only can a melody have linear direction, but also the rhythmic patterns can have a relentless linear drive due to the fact that “the unwillingness to interrupt itself, the willingness to last – is the

pianisticheskoy shkoly [Masters of the Soviet pianistic school], ed. Alexander Aleksandrovich Nikolaev (Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1961), 146. 24 Nikolaev, “Ispolnitelskiye i pedagogicheskiye printsypy A. B. Goldenveyzera,” 146. 25 Braudo, Ob organnoy i klavirnoy muzyke, 123.

43 essence of organ sound”.26 The continuous nature of organ sound acts as an important factor in the choices of the transcriber, and consequently in those of the analyst-performer. The notion of continuity of sustained notes is not one which can be comparably achieved on the piano. A sustained note may either be held down for its full duration, or it may be ‘caught’ on the pedal, or it may be restated, but in each case the sound decays rapidly after the initial attack. However, on a piano, due to its articulation, a note stuck allows for greater variation within the actual note than if it had been played on an organ: the vibrations and fluctuations of the piano note in the process of fading out being a sign of a process occurring within a note, creating variability within a single note. The process of the sound degradation of the note combines with the articulation, aiding the performer to create a dramatic process within every note; as Braudo puts it, a “certain transition from ‘to be’ to ‘not to be’.”27 Braudo suggests the term ‘pronunciation’ be applied to the approach of listening to the process of what happens within the note, demonstrating his interest in rhetorical influences.28

The finite length of a piano tone, however, demonstrates the complexity that would be required to differentiate between end points of articulation, the physical decay of the piano tone, and written-out rests, and the impossibility of taking this into account when applying

Milka’s analytical theory which only accounts for notes at their moments of incidence.29

Depending on the context of the work, restating a pedal-point-like note can provide a way of highlighting it from the surrounding melodic material. Creating the illusion of a sustained note, as suggested by Kurth, or allowing the intended long note’s complete decay can also allow the performer to focus the listener’s attention on the remaining polyphonic

26 Braudo, Ob organnoy i klavirnoy muzyke, 54. 27 Isay Aleksandrovich Braudo, Artikulyatsyya [Articulation] (Leningrad: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1961), 190-192. 28 Braudo, Artikulyatsyya, 190-192. 29 Note that Milka’s theory does apply to all instruments; however this is an example of how the partially unnotated factor of effective note durations are not fully accounted for.

44 parts.30 Conversely the addition of repeated notes instead of sustained ones can also add a sense of direction to the meter, underscoring the pulsation of every beat, where structurally desirable.31 The realisation of long notes by means of utilising the pedal can also have multiple effects. The functionality of pedalling in highlighting the individual timbres of each voice, and in achieving coherence through illusory legato in each voice has been noted by

Feinberg in relation to polyphonic works.32 The necessity of pedal in organ-piano transcriptions has been discussed in detail by Royzman, including in his analysis of Dmitry

Kabalevsky’s transcription of the Prelude and Fugue in D minor BWV 554.33

In the Prelude from Prelude and Fugue in G minor BWV 535 Siloti takes the usage of long notes to a new level, not only by multiplying original note values by eight, adding pedalling and octave doubling, but most importantly by adding clusters to be ‘silently depressed’, potentially resulting in a whole extra layer of sound appearing as a result of the created overtones. The excerpts of the original and the transcription are shown in Figure 3.3.

This example is also quoted in the dissertations of Pierce and Izotova.34

Fig. 3.3 (a). Bach: Prelude and Fugue in G minor BWV 535, bars 2-4.35

30 Kurth, Osnovy linearnogo kontrapunkta, 198. 31 Izotova, “A. I. Siloti i ego rol’,” 144. 32 Feinberg, Masterstvo, 50-51; Feinberg, Pianizm, 348. 33 Royzman, “O rabote nad polifonicheskimi proizvedeniyami,” 92-94. 34 Pierce, “An Examination of Alexander Siloti’s,” 85; Izotova, “A. I. Siloti i ego rol’,” 136. 35Johann Sebastian Bach, Prelude and Fugue in G minor; Bach Gesellschaft Ausgabe. Volume 15 (Leipzig: Breitkopf und Härtel, 1867), 112. Accessed 6 April 2019, http://ks4.imslp.info/files/imglnks/usimg/c/c0/IMSLP01320-BWV0535.pdf.

Fig. 3.3 (b). Bach/Siloti: Prelude from Prelude and Fugue in G minor BWV 535, bars 2-

4.36

The term ‘illusion’ has already been referred to in the above discussion numerous times. The illusionary role played both by the notation system and by the decay in practice of notes is an important aspect of polyphonic presentation. The symbolism of notational values and the impact of silence are both important to consider. The level of polyphonisation of a texture is heightened by the use of caesuras in different voices at non-corresponding points.37

Prefacing a note by a caesura can create the illusion of an accent on the note, allowing it to be contrasted to the surrounding texture. Braudo sees the total time taken for a work from its beginning to end as being a sum of the time of sounds – the ‘positive’, – and the time of caesuras – the ‘negative’.38 Caesuras however encompass not only the written rests, but also the breaks between notes occurring as a result of the release of a note, i.e. their articulation.

Caesuras can be prompted by many stimuli including a desire to express breathing and rhetorical influences as well as considerations of piano technique.

36 Johann Sebastian Bach and Alexander Siloti, Prelude in G minor (New York: Carl Fischer, 1924), 3. Accessed 23 March 2019, https://imslp.org/wiki/Special:ImagefromIndex/09629/nhaf. 37 Grigoryev and Myuller, Uchebnik polifonii, 44. 38 Braudo, Artikulyatsyya, 193.

As can be seen, multiple aspects dictated by the analyst-performer influence the resulting note lengths and in turn the categorisations of textural elements. Since polyphonic activity, categorisation, and voice functions are often assessed from rhythmic interrelationship of voices and the number of simultaneously taken notes, when analysing

Bach transcriptions these judgements are greatly influenced by performative aspects some of which are recorded in the score by the transcriber. These include whether chords are broken, melody notes displaced, whether ornaments are executed evenly, which articulation is chosen, whether and how pedalling is used, how caesuras are applied, as well as the physical limitations of the instrument. In transcriptions, these performative aspects are often made more specific by the transcriber in their score. The final touch of specification is then provided by the analyst-performer.

Chapter 4. A polyphonic technique: Doubling.

Doubling is a very common technique found in piano transcriptions of Bach’s works.

The role it plays in polyphonic texture analysis is particularly theoretically troublesome, and is often ambiguous in its categorisations and interpretations. Doubling is a score transformation technique that is easily detectable by simple comparison of a score of the transcription with that of the original. Grove Music Online bases its definition of doubling on the act of performing the same part by different instruments or voices in unison, at the octave, or their derivatives.1 Nevertheless, this word can also be used to refer to parallel motion at intervals such as the third and the sixth, as well as doubling achieved by fractional organ stops. Transcribers of Bach’s works have turned to doubling the bass or a cantus firmus line at the octave, adding thirds, sixths, octaves (or any of their combinations) to melodic passages, as well as using isolated examples of doubling of a single note with two voices.

This chapter will investigate how this technique frequently notated in transcriptions can be classified with polyphonic terminology and, as in previous chapters, demonstrate how and when these categorisations are influenced by performative factors envisaged by the analyst-performer.2

At this point it is useful to reach back to the accepted definitions of what constitutes polyphony discussed in Chapter 1. In their quest to clarify the boundaries within which the term ‘polyphonic’ can be applied to describe a certain piece or segment of music, many

1 “Doubling (ii),” Grove Music Online, 20 January 2001, https://doi.org/10.1093/gmo/9781561592630.article.53701. 2 The tasks of experimentally and statistically quantifying whether features such as doubling cause a listener to perceive the work as more or less polyphonic are beyond the scope of this study. However, the works of David Huron on voice denumerability in polyphonic music of homogenous timbres as well as Stacey Davis’s discussion on ‘auditory stream segregation’ have been consulted for background knowledge.; David Huron, “The New Empiricism: Systematic Musicology in a Postmodern Age,” The 1999 Ernest Bloch Lectures 3 (January 1999), 1-30; David Huron, “Voice Denumerability in Polyphonic Music of Homogeneous Timbres,” Music Perception: An Interdisciplinary Journal 6, no. 4 (Summer 1989), 361-382; Davis, “Implied Polyphony in the Solo String Works of J. S. Bach,” 423-446.

48 scholars have identified the necessity of a high degree of independence among the music’s constituent melodic lines.3 As now seems unsurprising in terms of polyphonic scholarship, there has been no overall consensus amongst Soviet/Russian scholars as to whether or not doubling is a polyphonic feature; however it is frequently discussed in polyphonic textbooks, demonstrating that in any case it is not dismissible.4

Dmitriev observed that doubling at the octave within a single or similar timbre results in a complete acoustic fusion of the two lines, which is a reason why the technique is so frequently used to strengthen a single line. Octave doubling achieves a certain

‘monumentality of texture’ and overtonally strengthens any intervals that may be sounding in the voices around it.5 One of the two notes in the octave can easily be assigned a supportive role. On the other hand if the doubling occurs at a distance of two or more octaves, the resultant sound will give an audible splitting into two lines, albeit stating the same material.6

Many Soviet musicologists treat the appearance of a doubling line as the splitting of the initial voice, rather than the addition of a second one. This concept of splitting is also described as an important milestone in the development of polyphonic technique throughout history.7 Furthermore, for scholars such as Sergey Skrebkov, the splitting of a single voice proves to be a way of describing the reasoning behind the perception of hidden polyphony.8

Doubling is said to approach maximum closeness with homophonic mnogogolosiye

[multi-voicedness] when the parts have an identical rhythm.9 Stepan Grigoryev and Teodor

3 By its nature, the phenomenon of music is an interaction of various dimensions, and therefore most of these discussions have also acknowledged the co-presence of the harmonic element in the study of polyphony. 4 Some of the textbooks are listed in Chapter 1. 5 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 68. 6 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 61. 7 Myuller, Polifoniya, 54-59. 8 Skrebkov, Polifonicheskiy analiz, 28-33. 9 Grigoryev and Myuller, Uchebnik polifonii, 6; Interestingly, Arsen Karastoyanov has used the term ‘polyphonic harmony’ in: Arsen Karastoyanov, Polifonicheskaya garmoniya (Polyphonic harmony), trans. G. Stoyanova and K. Savchenko (Moscow: Muzyka, 1964).

Myuller also refer to doubling texture as being an intermediate between ‘single-voicedness’ and ‘multi-voicedness’ (odnogolosiye and mnogogolosiye).10 Doubling at the third or the sixth transfers the segment into a realm ‘between authentically polyphonic two-part writing and single-part writing’.11 When found in the bass, added thirds are also said to play a colouristic role.12 It is clear that this is an indication of the importance of the timbral features which, apart from instrumentation, are not indicated in the score itself and will vary between performances, and between analyses too, the latter depending on the tone colour which the analyst hears in the interval/s.

The creation of other parallel intervals and even complete parallel chords through doubling has been acknowledged to entail the loss of voice independence of the constituent parts. The sense of unification that can be created by parallel motion can be instrumental in the control of structural tension by strengthening the sense of unified coherence achieved at a climax.13 This structural role of doubling can be acquired not only through purely notated elements, but also through the variation of factors such as dynamics and note durations in the process of aural or performative interpretation.

The cultural significance of analysing doubling from a polyphonic perspective is moulded by two aspects. The first is that the central point made by musicological teaching regarding the development of polyphony in Russian folk, church, and consequently art music, has been centred on what is known as podgolosochnaya polifoniya (sub-voice polyphony), a frequent feature of which is identical rhythm between two parts. While it may seem that similar features had taken place in the development of counterpoint in Western Europe, sub- voice polyphony by definition implies the subordination of one voice to the other. A common

10 Grigoryev and Myuller, Uchebnik polifonii, 6; Mnogogolosiye – a term which encompasses anything with many voices, but not necessarily exhibiting polyphonic independence. 11 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 63. 12 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 68. 13 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 66.

50 example of sub-voice polyphony is known as vtory which is essentially doubling: adding a second voice, usually at the third or sixth, with the second voice again being subordinate to the first.14 Even if one were to follow Dmitriev in viewing vtory as a consequence of splitting of the original voice, rather than adding a new ‘helping’ one, the resultant second voice will nevertheless still be seen as having a subservient role. Some musicologists therefore have seen the potential to link doubling in Russian music more generally to the Russian folk music roots of sub-voice polyphony. The musicologist Asafiev classified the textures in the works of late Romantic Russian composers’ such as Nikolay Medtner, Alexander Scriabin, and

Sergey Rachmaninov, textures as polymelodic, which he claimed to be sub-voice polyphony complexified by popevki (motif-like units from singing).15 While in certain situations, the composer may have genuinely aimed to imitate folk singing, it is often not possible to guarantee their intention, which however has not stopped analysts drawing links between doubling and sub-voice polyphony.16

Despite the co-existence and even interdependence of various features that constitute music, this does not preclude analysis of a selected element only. Such an approach allows to eliminate the unachievable necessity to simultaneously consider potentially infinite variables.

A variable which has been shown to play an important role in the perception of a combination of lines as being a superimposition of independent lines is rhythmic contrast between the individual voices, discussed in detail in Chapter 3. When viewed from this perspective,

14 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 173-174.; It is interesting to note that vtory is linked to the word vtoroy - second, therefore making this word directly related to doubling, but also highlighting the hierarchy of voices. 15 Boris Asafiev referred to in Protopopov, Istoriya polifonii, 315 and in Larisa L’vovna Gerver, “Polifoniya v romansah Rahmaninova” [Polyphony in Rachmaninov’s romances] in Muzykal’noe obrazovaniye v kontekste kultury [Music education in the context of culture] ed. L. S. Dyachkova (Moscow: Russian State Academy of Music named after the Gnessins, 2012), 268. 16 Here it should also be noted that treatises from Soviet scholars, should be viewed with an understanding of the forces and ideals driving post-revolutionary society at that time (‘post-revolutionary’ refers to the time soon after the 1917 October Revolution). For example, Alexey Kandinsky-Rybnikov’s article on the historiographic development of the concept of musical themes links the idea of developing individualisation of an independent voice to the development of a bourgeois class (Kandinsky-Rybnikov, “Ob interpretatsiyi muzyki I. S. Baha,” 311-312).

51 doubling techniques may lower the perceived level of polyphonicisation of a work or segment.

Interpretation of doubling in the score

Dependent on context, doubling can be interpreted by the analyst-performer either as a technique to enhance the polyphonic independence of the constituent lines of a musical passage, or conversely, as a factor which limits the independence of these lines. Theoretical study can highlight some of the realisations and consequently categorisation possibilities that are available to the analyst-performer. The following examples provide possible interpretations of doubling from a polyphonic perspective.

Prelude and Fugue in G Major BWV 541, transcribed from the organ for solo piano by Alexander Goedicke displays many variants of doubling technique. The opening of the

Bach original and Goedicke’s transcription are shown in Figure 4.1.

Fig. 4.1 (a). Bach: Prelude and Fugue in G major, BWV 541, bars 1-6.17

17 Johann Sebastian Bach, Prelude and Fugue in G Major; Bach Gesellschaft Ausgabe. Volume 15 (Leipzig: Breitkopf und Härtel, 1867), 169, accessed 6 April 2019, https://imslp.org/wiki/Special:ImagefromIndex/01326/nhafj.

Fig. 4.1 (b). Bach/Goedicke: Prelude and Fugue in G major, BWV 541, bars 1-6.18

The opening of the prelude is, in Bach’s original, presented as a single line. Goedicke amplifies this melody with doubling at the octave, at the sixth and at the third, creating parallel 6/3 chords as well as intermittently using other intervals. From a rhythmic perspective, the addition of a rhythmically identical part does not provide any increase in the theoretical degree of rhythmic polyphonisation. By using Milka’s method of comparing the degrees of rhythmic polyphonisation, one can see that the degree of rhythmic independence of a single line is equal to 1 since it is a single line and has no ‘competitors’ whereas that of a series of parallel chords is 0. (On a scale of 0-1, the notes within a single line do not have any rhythmical correlations with them, whereas for parallel chords, every note has correlations with other notes. The more simultaneous correlations in a phrase, the less the polyphonic independence of the excerpt and the lower the score).19 This can be seen to represent the idea that a single melodic line on its own is entirely rhythmically independent, whereas since three

18 Johann Sebastian Bach and Alexander Goedicke, Organnaya prelyudiya i fuga [Organ prelude and fugue] (Moscow: Muzgiz, 1931), 2, accessed 6 April 2019, https://imslp.org/wiki/Special:ImagefromIndex/33275/nhafj. 19 Milka, “Otnositel’no funktsional’nosti v polifonii,” 93-103.

53 parallel lines rhythmically coincide with each other at every point they display no independence at all.

While rhythmically identical, the additional voices may still provide polyphonic variety. If one is to consider another measure of polyphonic activity, the lack of coincidence of the beginnings and ends of phrases between parts, a different picture begins to emerge. In two instances (semiquavers 2-4 of beat 1, bar 2, and semiquavers 2-4 of beat 1, bar 3) the top and bottom lines converge in an overall contrary motion. However, contrary motion on its own could very well have been used to signal the end of a phrase in both parts as a whole, and therefore it is the added crescendo and diminuendo signs which indicate clearly that there is a collision of phrase directions. These indicate that the lower part builds tension in its rising phrase on the second semiquaver of the bar, while the top line is continuing its overall direction of relaxation until the first semiquaver of beat 2. The relaxation of the phrase in the lower part on beat 1 of bar 2 is highlighted by the individualisation of the tenor voice moving from D to G, creating a cadence-like figure. Therefore the tension from the change in motion direction as well as the overlapping, unsynchronised phrase directions, result in these two beats demonstrating polyphonic independence, as compared to both the original melodic line and the rest of the excerpt.

For the sets of descending chords it is logical to not view them as highly individualised polyphonic lines. This conclusion is enabled under the circumstance that the parallel direction and intervallic distance are supported by the realisation of the specified articulation and dynamics – keeping them constant. This would allow a strong homogenising effect of doubling with little opposition from other potential factors. The listener is likely to perceive these segments as single homophonic entities rather than three or four individual lines.

Nevertheless, there is still freedom for the performer in the interpretation of the lines.

It is possible to approach the descending double thirds in bar 2 as a single blended entity or to treat the top line (in either the right hand only or in both the right hand and the left hand) as superior and view the other lines (in light of the aforementioned studies of Yuzhak and

Dmitriev) as supporting, ‘sub-voices’ splitting from the main melody and remaining subordinate to it. If the performer favours the latter version, this will have implications on voicing techniques. The octave doubling can also be seen as merely strengthening the top melodic line. The question of voicing applies to how blended or individualised the bass line will be compared to the top line.

Furthermore, the categorisation of doubling in this excerpt may also be impacted by the disrupted integrity of the melodic line due to technical reasons. Whereas in Bach’s original, the melody could, from a technical point of view, very easily be played with a legato articulation, in the transcription it is more cumbersome to achieve a legato of the same lightness due to the multiple doublings, and is likely to require a level of compromise in the legato such as in the right hand in bar 3, and the octaves of the right hand of bar 1.

Goedicke’s doubling here can also be seen as a technique to highlight micro-structural elements of the phrase, such as the splitting to the double octave that occurs at the climax on beat 2 of bar 1. The categorisation of the role of doubling in this case as being used to create a specific phrase structure is largely prompted by a dynamic rise leading up to this note. The type of doubling in bars 3-5 is a common occurrence in what are often referred to as

‘Romanticised’ transcriptions. While it does lead to greater independence of the line by including dissonant intervals (which according to Myuller are the most ‘polyphonically active’ intervals), the overall effect is one that segments the melody into constituent motifs.20

Whether or not these dissonant intervals will impact the classification of the linear

20 Myuller, Polifoniya, 59.

55 independence will depend largely on how dissonance is made obvious or otherwise, which once again is a matter of interpretation.

Interestingly, while Goedicke’s treatment can be seen as eliminating the clarity of an individual line by adding multiple doubling parts and thus making auditory discrimination as difficult as legato execution, doubling can also be used as part of a thinning out of texture, and similarly resulting in a decreased level of polyphonic activity. This happens particularly when the voices cease to present contrasting melodic and rhythmic material, instead joining each other in doubling. The passage in the bar containing the marking ‘allargando’ in

Feinberg’s Chorale Prelude BWV 663 provides clear potential for categorisation as a method of eliminating the rhythmic independence visible in the previous section, with the thinned-out texture functionally serving as a caesura before the activity in the following bar. This can be observed in Figure 4.2 below.

This space is intentionally left blank.

Fig. 4.2. Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bars 61-67.21

Doubling can also facilitate the illumination of hidden melodies.22 The discussion below demonstrates this function of doubling by comparing the excerpts in Figure 4.3 – the original and three transcriptions of the same work – the Prelude from Prelude and Fugue

BWV 535.

21 Johann Sebastian Bach and Samuil Feinberg, 13 Horal’nyh prelyudiy [13 Chorale Preludes] (Moscow: Muzyka, 1966), 60, accessed 9 March 2019, https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj. 22 This will be discussed in more detail in Chapter 5.

Fig. 4.3 (a). Bach: Prelude and Fugue in G minor BWV 535, bar 15.23

Fig. 4.3 (b). Bach/Nikolaeva: Prelude and Fugue in G minor BWV 535, bar 15.24

Fig. 4.3 (c). Bach/Drozdov: Prelude from Prelude and Fugue in G minor BWV 535, bar

15.25

Fig. 4.3 (d). Bach/Siloti: Prelude from Prelude and Fugue in G minor, BWV 535, bar

15.26

23 Johann Sebastian Bach, Prelude and Fugue in G minor, 112. 24 Johann Sebastian Bach and Tatiana Petrovna Nikolaeva, Organnaya prelyudiya i fuga sol’ minor. Organnaya fantaziya i fuga re minor [Organ prelude and fugue in G minor. Organ fantasie and fugue in D minor] (Moscow: Muzyka, 1988), 19. 25 Anatoly Drozdov, Perelozheniya i obrabotki dlya fortepiano. Organnaya prelyudiya g-moll [Piano transcriptions and reworkings. Organ prelude g minor] (Moscow: Gosudarstvennoye izdatel’stvo, muzykal’nyy sektor, 1927), 3. 26 Johann Sebastian Bach and Alexander Siloti, Prelude in G minor, 4.

These excerpts from the three transcriptions show contrasting approaches: Tatiana Nikolaeva does not utilise doubling; however the single line is given contrast by splitting it between hands creating a kind of ‘visual antiphony’ which may or may not translate into performance.

Anatoly Drozdov uses doubling to create an impression of a secondary line in the top voice, and Siloti uses doubling at the octave but without interruption to the melodic flow. The interesting aspect in Drozdov’s use of doubling is that it can facilitate contrast in register, which enables a compound melodic line to be deconstructed into more than one line.27

However, when analysing the polyphonic texture of these excerpts, whether Nikolaeva’s version will indeed be seen as consisting of separate lines or as or one continuous line split up between hands for ease of execution will depend on the interpretative factors such as accentuation, dynamics, and relative note lengths. The presence of Drozdov’s potential hidden melody, and the subservience or equality of the two hands in the Siloti are similarly partially dependent on the interpreter.

Many of the transcribers who have utilised octave doubling extensively have done so when transcribing organ works. At least eleven of the transcribers studied were not only pianists, but also organists. Especially notable organists amongst the transcribers were

Goedicke, Feinberg, and Braudo. The reasons behind utilising doubling in such works can include the following: to imitate the resonance of the organ, to thicken the textural tapestry for imitation of the concept of an organ being a ‘grand’ instrument, to imitate organ performance technique by imitating registration, and to make the texture more ‘pianistic’, or to highlight a certain voice.28

Bass-line doubling is a particularly frequently used technique, particularly in transcriptions of organ chorale preludes, as it enables the imitation of the 16 foot organ pipes.

27 See the chapter ‘Inferred polyphony’. 28 Naturally, these aims can co-exist.

For many transcribers it seems that using doubling is especially common when the bass notes are crotchets or minims in length. This is generally interpreted in a way similar to Dmitriev’s view that such doubling can achieve ‘monumentality of texture’ and can strengthen overtones.29 It is unlikely that the two notes within the octave will be interpreted as separate independent linear entities.

Octave doubling is often utilised in the bass as pedal points. Because on a piano it is frequently sustained only by using the pedal, while the hand will be already involved in playing other material, the intensity of the sustained note may be affected. Nevertheless, polyphonically the doubled note still provides an effect of oblique motion with the other voices and heightens polyphonic independence not only through contrast of rhythmic patterns between the voices, but also by potentially exaggerating any dissonances created against this bass note. These contrasts are naturally present even when a bass note is not doubled, but the doubling allows the note to resonate and be heard more clearly, therefore exaggerating the aforementioned effects.

In the excerpt of Feinberg’s transcription of Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663 compared to its original in Figure 4.4, the doubled bass note is played with written-out arpeggiation, which could prompt the two notes of the sustained pedal point to be treated with more melodic significance.

29 Dmitriev, Polifoniya kak faktor formoobrazovaniya, 68.

Fig. 4.4 (a). Bach: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bar

16.30

Fig. 4.4 (b). Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV

663, bar 16.31

Towards the ending of the same prelude (Figure 4.5), the amount of doubling is increased, combining numerous approaches: pedal point, doubling at the octave, doubling in both hands, and doubling at the sixth. In Figure 4.5 (b) the independence of the lines is highlighted by writing the parts out on three staves, which, while serving a practical purpose, also allows the pianist to observe the polyphonic components of the segment more clearly. It is quite common for transcribers to turn to increased use of doubling towards the end of the piece, which perhaps points towards the transcribers associating Bach with polyphony; in many

19th-20th century fugues this same effect is used, and the fugue can be thought of the

30 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 25.2 (Leipzig: Breitkopf und Härtel, 1878), 125. Accessed 6 April 2019, https://imslp.org/wiki/Special:ImagefromIndex/549879/nhafj. 31 Bach and Feinberg, 13 Horal’nyh prelyudiy, 57.

61 quintessential polyphonic form.32

Fig. 4.5 (a). Bach: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV 663, bars

90-94.33

32 This is also the case in many Bach originals, for example the Fugue from Prelude and Fugue in C minor BWV 847, WTC Book 1. I have analysed a number of Preludes and Fugues by mainly late Romantic-period Russian composers (Pyotr Tchaikovsky’s Fugue from Op. 21, Anton Rubinstein’s 6 Preludes and Fugues Op. 53, Anatoly Liadov’s Fugues Op.41, Alexander Glazunov’s Prelude and Fugue Op 62, Nikolay Rimsky-Korsakov’s 6 Fugues from Op. 17, Sergey Taneyev’s Prelude and Fugue, Sergey Lyapunov’s Variations and Fugue on a Russian Theme Op. 49, Alexander Glazunov’s Four Preludes and Fugues Op. 101, Sergey Lyapunov’s Toccata and Fugue, Nikolay Myaskovsky’s Six Polyphonic Sketches Op 78, and a number of Dmitry Shostakovich’s Preludes and Fugues) and in many of these pieces even if octaves are not used otherwise, they may appear in the bass at the end of the piece. 33 Bach, Bach-Gesellschaft Ausgabe, Band 25.2, 129.

Fig. 4.5 (b). Bach/Feinberg: Chorale Prelude Allein Gott in der Höh sei Ehr (III), BWV

663, bars 90-94.34

It is only natural for the pianist to then ask when deciding within which frame of mind to interpret the doubling, whether he/she ought consider the intentions of the transcriber and or composer? Once again, while it is not possible to make direct claims, it is beneficial to analyse the general trends and give suggestions of works where these approaches may have potentially been applied. Transcribers did consider the possibility of imitating organ sounds and Baroque performance techniques, however Feinberg accepts potential historical inaccuracies, conceding that, “while imagining, for example, the methods of registration (say on the organ), we can commit significant errors”.35 Braudo also discussed the various effects of imitating registration and doubling from organ and harpsichords.36

Goedicke’s fascination with the organ found its way into his Bach transcriptions – not just organ to piano, but piano to organ, organ to orchestra, and organ to ensemble.37 Potential

34 Bach and Feinberg, 13 Horal’nyh prelyudiy, 62. 35 Feinberg, Masterstvo pianista, 22. 36 Braudo, Ob organnoy i klavirnoy muzyke, 45-47, 93-95, 101, 146. 37 Sergey Mihaylovich Budkeev, A. F. Gedike-organist (ispolnitel’, pedagog, kompozitor) [A. F. Goedicke- organist (performer, pedagogue, composer), 2nd ed. (Barnaul: Izdatel’stvo BGPU, 2004), Appendix.

63 incentives for his creation of organ-to-orchestra Bach transcriptions could have been the desire to imitate organ’s registration and to translate the organ’s perceived grandeur into a different medium.

This interest in doubling translated into Goedicke’s own compositions for piano. It is especially noticeable in his polyphonically-themed works, such as Four Etudes in Octaves, the second of which is subtitled ‘Canon at the octave’, and the fourth as ‘Fugue for two voices’. These etudes are in right-hand and left-hand octaves only throughout the whole work. These examples demonstrate Goedicke’s perception of doubling in this context as something which only strengthens the single line, rather than providing a more independent line. Interestingly, while doubling does provide a ‘reinforcement’ of the melodic idea, in a case such as the one shown below in Figure 4.6 of the opening of the fourth etude, due to the technical practicalities of playing melodies in octaves on the piano, the doubling can actually hinder the flow of the melody, its direction, and coherence as an independent entity.

Fig. 4.6. Goedicke: Etude Op 22 No 4, bars 1-10.38

38 Alexander Gedike, Chetyre oktavnyh etyuda [Four octave etudes] (Moscow: Jurgenson, no date), 14. Accessed 6 April 2019, https://imslp.org/wiki/Special:ImagefromIndex/353198/nhafj.

It is also possible to speculate that this example demonstrates the inherent association of strict polyphonic technique with J. S. Bach since Goedicke’s exploitation of octaves in these works seems to be no less derived from his inspiration from Bach-associated organ playing, rather than only from the wish to demonstrate technical bravura.

One can say that Goedicke had indeed a passion for doubling. In a number of (to my knowledge) unpublished transcriptions of Bach’s works from organ to the ensemble combination of two violins, viola, cello, double bass and piano, for much of these works the parts are doubled. Perhaps indicating the lesser significance and non-independence of the musical material of the doubled parts, in the transcription of the Fantasia and Fugue BWV

542 he makes a note that playing the viola and double bass parts is ad libitum. These manuscripts are currently held at the National Museum of Music in Moscow, Russia.39

Together with his orchestrations, Goedicke’s transcriptions provide examples of how utilisation of the various timbral colours can play the major role in creating polyphonic contrast between different parts. This focus on timbre as a crucial aspect of polyphony was not only seen in Goedicke’s work; timbral polyphony had been explored by many 20th- century composers.40

The freedom of approach to the score, hinted at by Goedicke in his ad libitum instructions, were also discussed by Feinberg, who speaks about using approaches and techniques not found in the original score to highlight certain polyphonic lines. While acknowledging the need to remain ‘within good taste’, Feinberg has discussed the ideas of

39 Eg. Organ Sonata in C Major BWV 529, arranged February 1932. Manuscript viewed at the National Museum of Music Archive (formerly Glinka Museum), (code: ф 47 633). 40 Larson Powell, “The Character of Polypohony: Carter’s Concerto for Orchestra,” in Polyphony & Complexity, ed. Claus-Steffen Mahnkopf, Frank Cox and Wolfram Schurig (Hofheim: Wolke Verlag, 2002), 30-31; Tatyana Vladimirovna Frantova, “Polifoniya A. Shnitke i novye tendentsyi v muzyke vtoroy poloviny XX veka” [Polyphony of A. Schnittke and new tendencies in music of the second half of the 20th century], (PhD diss. Summary [avtoreferat], Moscow State Conservatory, 2005), 25, 35.

65 the pianist aiding the audience in deciphering various polyphonic elements of the work.41

Therefore it is possible to assume that in some cases the use of doubling by Feinberg and other transcribers would have indicated an attempt to aid the audience in perceiving a certain melodic line which the transcribers considered important.

There is little doubt that many transcribers would have turned to doubling exclusively from a desire to either adapt the original to more convenient pianistic shapes, or to create a technically difficult work which could be used to display the virtuosity of the performer.

Similar tendencies are evident in the multitude of transcriptions and paraphrases that had been especially abundant in turn-of-the-century pianism.42 Similar cases of doubling can be seen in Pavel Pabst’s piano ‘reworking’ of Liszt’s piano transcription of Bach’s Fantasia and

Fugue in G minor BWV 542, and Pabst’s paraphrases on Pyotr Ilyich Tchaikovsky’s Sleeping

Beauty and Eugene Onegin. While it is difficult to say if Busoni’s appendix ‘On

Transcriptions’, which provides a comprehensive guide to his views on utilising doubling in transcriptions, was available to the Russian transcribers, Busoni’s viewpoints definitely had at least partial influence on some of the Russian transcribers, as confirmed by a memo made by Alexey Parusinov on transcribing techniques taken from Busoni, amongst which doubling is included.43 Transcribers with a more purist approach to Bach’s score used comparatively less doubling than those who did not hold these views, both in their transcriptions and in their polyphonically-themed works.44 This also suggests that for some transcribers this technique could have been associated with Romanticism and therefore needed to be left behind.

41 Feinberg, Masterstvo pianista, 35. 42 Borodin, Istoriya fortepiannoy transkriptsyi, 302-307. 43 Manuscript seen at the Archive of the National Museum of Music in Moscow, Russia. 44 Examples include some transcriptions by Anatoly Vedernikov and transcriptions and original compositions by Tatiana Nikolaeva.

The role of doubling, the purposes it serves, and the relationships of the constituent lines depend greatly on other factors that are added in the process of interpretation. The points discussed above can be summarised in the following way:

● Doubling may limit rhythmic independence hence impeding the perception of

polyphonic activity.

● Doubling may acoustically and dynamically thicken the texture to such an extent that

the perception of individual lines becomes difficult, consequently lowering the

judgement of polyphonic activity.

● Doubling may be used to highlight certain melodic peaks, therefore allowing non-

synchronisation of parts and heightening the polyphonic activity.

● Doubling provides more possibilities for the contrast in voicing between lines.

● Doubling may impact the integrity of a musical line due to technical considerations.

● If used alone, doubling may act as a caesura during dense polyphonic activity.

● Doubling may facilitate illumination of hidden melodies.

● Doubling may increase the registral contrasts.

● Doubling may be used for acoustic or pianistic-comfort purposes.

● Doubling can be used in the same manner in original polyphonic compositions and in

polyphonically-associated transcriptions.

Chapter 5. A polyphonic effect: Inferred polyphony.

Having discussed in the last two chapters an example of a factor impacting textural results and a common transcription technique respectively, this chapter will deal with a polyphonic product – inferred polyphony – discerning a multi-layered texture from a seemingly-monophonic line. Unlike the case of the term ‘polyphony’ where the same term has come to designate various concepts, in this case different terms are often used for similar concepts. The majority of these terms refer to the ‘illumination’ of a subset of notes within a horizontal stream which might otherwise be classified as a monophonic entity. Illuminating a single line from a score can take many forms. The initial part of this chapter will deal with the methods of melodic illumination by the selection of a subset of notes from within a single horizontal stream. In English-language scholarship, terms such as implied polyphony

(Bukofzer, Davis, Sherwin, Yates), hidden polyphony (Marshall, Bukofzer), compound melody (Silva, Forte and Gilbert), unfolding (Schenker), melodic fission (Dowling), implied voices (Davis), polyphonic melody (Wen), implicit polyphony (Powell), pseudo-polyphony

(Deutsch) and stream/voice segregation (Davis, Cambouropoulos) have all been applied to cases of viewing a line as consisting of two or more melodic substituents (which I will be referring to as second-level melodies).1 In Russian/Soviet musicology the terms mnimaya

1 Manfred F. Bukofzer, Music in the Baroque Era - From Monteverdi to Bach (Redditch: Read Books Ltd, 2013); Stacey Davis, “Bring Out the Counterpoint: Exploring the Relationship Between Implied Polyphony and Rubato in Bach's Solo Violin Music,” Psychology of Music 37, no. 3 (2009): 301–324, https://doi.org/10.1177/0305735608097244; Davis, “Implied Polyphony in the Solo String Works of J. S. Bach,” 423-446; Catherine Lois Sherwin, A Study of the Implied Polyphony in Selected Solo Flute Works: A Thesis (San Diego: University of California, 1978); Richard Yates, The Transcriber’s Art (Pacific (M.O.): Mel Bay Publications, 2009), 108; Judith M. Marshall, “Hidden Polyphony in a Manuscript from St. Martial de Limoges,” Journal of the American Musicological Society 15, no. 2 (Summer 1962): 131-144; Antonio Carlos Portela da Silva, “A Performance Guide to Three of Telemann’s 12 Fantasias for Flute Without Bass, Based On the Study of the Compound Melodies.” (DMA diss., The University of Alabama, 2012); Allen Forte and Steven E. Gilbert, Introduction to Schenkerian Analysis (New York: Norton, 1982); Rodney Garrison, “Unrolling Schenker's Ideas of Musical “Unfolding”,” Theory and Practice 37/38 (2012-2013): 111-138; Walter J. Dowling, “The Perception of Interleaved Melodies,” Cognitive Psychology 5 (1973): 322-337; Eric Wen, “Bass Line Articulations of the Urlinie,” in Schenker Studies 2, ed. Carl Schachter and Hedi Siegel. (Cambridge: Cambridge University Press, 1999): 278; Diana Deutsch, “6 Grouping Mechanisms in Music,” in The Psychology of Music, 3rd ed., ed. Diana Deutsch. (San Diego: Elsevier, 2013), 196,

68 polifoniya [imagined/alleged/inferred polyphony] and skrytaya polifoniya [hidden polyphony] are most commonly observed with seemingly synonymous uses.2 The potential of highlighting a voice from within a thicker texture on an otherwise unmarked score, has been analysed by Diego Cubero, in his study of Brahms’s piano works. He classifies three types of inner melodies – enfolded melodies, compound melodies with a structural inner strand, and melodies emerging from within.3

‘Implied polyphony’ and various cognate terms are most frequently used in reference to the selective highlighting of notes from among a horizontal succession of notes. This highlighting is either used as a tool in theoretical analysis (Schenkerian approach), in performance (as is the case in alterations made in accordance with performance practice traditions), in listener perception (as in the case of the stream segregation and melodic fission studies), and in the detection of compositional precursors.4 Within all these uses there is a common feature: the inferred second-level melodies in question are generally not specified to be such by the composer, and the decision to see them remains with the interpreter. It can be said that inferred polyphony is in the eyes or ears of the beholder.

There have been a number of suggestions regarding the features which prompt the categorisation of a compound melody as such. Skrebkov has included intervallic width as crucial for the ability of the ear to group and notes together, which is a critical feature in determining the compound nature of a melody (the wider the intervallic distance between melodic fragments which consist of intervallically-close notes, the more split the melody will

http://dx.doi.org/10.1016/B978-0-12-381460-9.00006-7; Larson Powell, “The Character of Polypohony: Carter’s Concerto for Orchestra,” in Polyphony & Complexity, ed. Claus-Steffen Mahnkopf, Frank Cox and Wolfram Schurig. (Hofheim: Wolke Verlag, 2002): 18; Emilios Cambouropoulos, “Voice and Stream: Perceptual and Computational Modeling of Voice Separation,” Music Perception 26, no. 1 (September 2008): 75-94. 2Myuller, Polifoniya, 187; Yury Nikolaevich Holopov, Vvedenie v muzykal’nuyu formu [Introduction to musical form] (Moscow: Moscow State Conservatory, 2006). 3Diego Cubero, “Inwardness and Inner Melodies in Brahms’s Piano Works,” Music Theory Online 23, no. 1 (March 2017): 4-6. 4 Wen, “Bass Line Articulations of the Urlinie,” 278; Marshall, “Hidden Polyphony in a Manuscript,” 133.

69 seem).5 Perceptual studies by scholars such as Davis suggest that the auditory perception of a monophonic line as a compound line is more common in melodies with a combination of large intervals, changes in melodic contour, conjunct motion within segments, and fast tempos.6 The importance of tempo has also been highlighted by Leo van Noorden with faster passages being more likely to be classified as fission.7 Further melodic fission potential is provided by timbral differences explored by David Wessel, and contrasting dynamics between the notes constituting the substituent melodic lines.8

Various aspects of the score and its performance can influence these perceptual conclusions. Skrebkov attributes the existence of hidden polyphony to the following: in an interval of two successive notes, the first note continues to sound in the person’s ears, overlapping with the following note. As proof of the existence of this phenomenon, Skrebkov observes that melodic intervals can still sound consonant or dissonant.9 Since this is partially illusory, an analyst who infers a second-level melody does this partially imagining, or mentally performing these connections. A pianist can make use of various performative elements to bring these additional melodies into realisation. These elements which potentially influence the inference of the compound melody include overholding, accenting, articulating, and using rubato. This once again demonstrates that the analyst really is an analyst- performer.

The importance of performative elements in the listener’s perception of compound melodies has been shown experimentally by Davis.10 Furthermore, even spatial aspects of the

5 Skrebkov, Polifonicheskiy analiz, 29-33. 6 Davis, “Implied Polyphony in the Solo String Works of J. S. Bach,” 424-428. 7 Leo Paulus Antonie Servatius van Noorden, Temporal Cohesion in the Perception of Tone Sequences, (Eindhoven: Technische Hogeschool Eindhoven, 1975), https://doi.org/ 10.6100/IR152538. 8 David Wessel referred to in Huron, “Voice Denumerability in Polyphonic Music,” 363; Dowling, “The Perception of Interleaved Melodies,” 322-337. 9 Skrebkov notes that the only instance when this isn’t the case is in the interval of a second, in which the sound of the first note essentially flows into the next note. However, perception of harmonic and melodic dissonance may also be different for other intervals, for example the perfect 4th; Skrebkov, Polifonicheskiy analiz, 29. 10 Davis, “Implied Polyphony in the Solo String Works of J. S. Bach,” 423-446.

70 performance environment have an effect on melodic splitting: the instrument location

(especially if there are multiple ones) in relation to the listener’s two ears has an effect on compound melody perception.11 Taking these elements into account it becomes obvious that score markings such as articulation, accents, dynamics, timbral and tempo indications can play an important role in the subsequent interpretation of a monophonic melody as containing inferred polyphony. Thus, score markings may become not only a tool for a composer to record their perception of a melody as consisting of independent lines, but also a means whereby the editor or transcriber can convey their interpretation of an original score.

Bach transcriptions provide an excellent source for observing cases in which transcribers may have capitalised on the implied polyphonic potential of a melody, especially considering the minimal original markings in Baroque scores. A transcription acts as a partial record of the transcriber’s own interpretation of the original, specifying their approach to some of the texture-influencing factors such as the ‘loudness’ of a certain note.

A number of studies have been conducted analysing inferred polyphony (or its analogues) in varied repertoire dating as far back as the medieval era. Judith Marshall looks at ‘monophonic adaptations of polyphonic works’ which were written down in the medieval era, such as in the collection Lat. 1139.12 While Sarah Fuller argues against such designation and the historical validity of claims of the existence of monophonic adaptations, a transcription which decreases rather than increases the number of polyphonic voices is an example of a process by means of which a polyphonic original is encoded into an apparently single melodic line.13

11 Deutsch, 222. 12 Marshall, “Hidden Polyphony in a Manuscript,” 131-144. 13 Sarah Fuller, “Hidden Polyphony - A Reappraisal,” Journal of the American Musicological Society 24, no. 2 (1971):169.

Studies of implied polyphony/compound melodies frequently focus on essentially single-line instruments such as the violin and the flute. These include analyses of Bach solo violin works (Davis), Georg Philipp Telemann’s Fantasias for solo flute (Da Silva), and a range of solo flute works (Cherwin).14 Implied voices in piano works by the likes of Frederic

Chopin and Johannes Brahms have also been analysed (Cubero).15 Implied melodies in Bach transcriptions have been mentioned primarily regarding the works of Siloti (Pierce,

Izotova).16

The realisation of additional melodic lines usually presents itself as various score alterations to the original. For a transcriber, the methods of highlighting an additional polyphonic line in a score may include some of the following: adding stems to selected notes to create a line of longer note values; adding selected notes as a separate line played in a different register; differentiating certain notes by means of articulation, dynamics, accentuation, timbral qualities, and doubling, amongst other things.

An important way for a transcriber to highlight an otherwise unmarked implied melody is by creating an additional voice by means of varying note lengths. A transcriber who has frequently highlighted additional melodies is Alexander Siloti.17 At the beginning of his transcription of the Prelude from BWV 535, shown in Figure 5.1 (b) below, Siloti creates a three-part texture by means of giving selected notes longer values. Bach’s original melody is easily seen to be a two-part texture, the illusion of which is created by means of rests.

Siloti’s realisation partially follows this grouping, nevertheless providing an additional splitting of the top line.

14 Davis, “Bring Out the Counterpoint”, 301–324; da Silva, “A Performance Guide.”; Sherwin, A Study of the Implied Polyphony. 15 Cubero, “Inwardness and Inner Melodies”. 16 Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions […],” 59, 77-79; Izotova, “A. I. Siloti i ego rol’,” 150-151. 17 Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions […],” 59, 77; Izotova, “A. I. Siloti i ego rol’,” 150-151.

Fig. 5.1 (a). Bach: Prelude and Fugue in G minor BWV 535, bars 1-2.18

Fig. 5.1 (b). Bach/Siloti: Prelude from Prelude and Fugue in G minor BWV 535, bars 1- 2.19

When transcribing a work from a ‘single-line’ instrument such as the flute or violin for the piano transcribers regularly add or transfer material into a different register. This may partially be done in order to render the transcription more apt to the range and capabilities of the piano. In such cases realising inferred polyphony may serve a more practical purpose, making the work more convincingly idiomatic. Siloti’s transcriptions of selected movements of Bach’s cello suites demonstrate examples of both realising inferred polyphony by using extensive note-value doubling in a different register in some instances, while in other sections retaining the original score’s monophonic linearity at the cost of a having pianistically- idiomatic texture. Belov in his transcription of the Allemande from Partita for solo flute

BWV 1013 seemingly utilises realisation of inferred polyphony in order to maximise the use

18 Johann Sebastian Bach, Prelude and Fugue in G minor; Bach Gesellschaft Ausgabe. Volume 15 (Leipzig: Breitkopf und Härtel, 1867), 112. Accessed 6 April 2019, http://ks4.imslp.info/files/imglnks/usimg/c/c0/IMSLP01320-BWV0535.pdf. 19 Bach and Siloti, Prelude in G minor, 3.

73 of the piano’s capabilities as an instrument which can simultaneously play multiple notes in different registers.

Realising implied polyphony by means of register alteration can result in cases of what can be perceived as voice splitting and voice addition, discussed in more detail in the previous chapter on doubling. An example is the creation of the doubled bass line in

Rachmaninov’s transcription of the Prelude from Violin Partita No 3 in E major, BWV 1006, demonstrated in Figure 5.2. The first notes of each bar are still retained in a relative position to the surrounding material; however by providing the doubled octave below them and assigning them to another hand the original melody becomes formally split, including having a semiquaver rest in the place of the original note in the tenor voice. Similar usage is also seen in the previous example from the Siloti Prelude.

Fig. 5.2 (a). Bach: Prelude from Violin Partita No 3, BWV 1006, bars 43-45.20

Fig. 5.2 (b). Bach/Rachmaninov: Prelude from Violin Partita No 3, BWV 1006, bars 43-

45.21

20 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 27, ed. Alfred Dörffel (Leipzig: Breitkopf und Härtel, 1879), 49. 21 Sergei Rachmaninoff, Suite (New York: Charles Foley, 1933), 8.

This type of splitting technique is not new, as it has been used by Bach himself, such as in the final movement of his transcription of his own Violin Sonata in A minor BWV 1003 as

Sonata for Keyboard in D minor BWV 964 as shown below in Figure 5.3 in the excerpt from the fourth movement.22

Fig. 5.3 (a). Bach: Violin Sonata in A minor BWV 1003, mvt 4, bar 1.23

Fig. 5.3 (b). Bach: Keyboard Sonata in D minor BWV 964, mvt 4, bar 1.24

New melodies can also be realised from existing vertical entities rather than from horizontal lines. In this study, I suggest the use of classifications ‘horizontally-inferred polyphony’ (for the examples described in the first section of the chapter), and ‘vertically- inferred polyphony’ (for the examples demonstrated below). The latter is commonly known as voicing. Even though they had not been specified in the score, these types of realisations of inferred polyphonic lines would have been realised in contemporaneous (18th-century) performances, according to scholars such as Stanley Yates. Yates refers to Bach’s solo string music as “self-accompanied” rather than unaccompanied, drawing parallels between its style of execution and the stile brisé accompaniment.25

22 Matthias Lang, “Transcription of Baroque Works for Classical Guitar: J. S. Bach’s Sonata in D minor (BWV 964) as Model,” (DMA diss., University of North Texas, 2013), 19. 23 Johann Sebastian Bach, Neue Bach-Ausgabe, Serie VI. Kammermusik. Band 1: Werke für Violine (Kassel: Bärenreiter Verlag, 1958), 26. 24 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 42 (Leipzig: Breitkopf und Härtel, 1894), 12. 25 Stanley Yates, Bach's Unaccompanied String Music: A New (Historical) Approach to Stylistic and Idiomatic Transcription for the Guitar (Missouri: Mel Bay Publications Inc., 1998), accessed 8 January 2019 from http://www.stanleyyates.com/articles/bacharr/part1.html

The realisation of inferred polyphony in transcriptions may, as with original compositions, be passed on through performance practice. Perhaps the most well-known example of such a case is the vertical polyphonic realisation in Siloti’s transcription of the

Prelude in B minor. This transcription is usually repeated by performers, at which point the left hand chords are arpeggiated and voiced in such a way as to bring out certain notes from the vertical entities, creating a melody. The ‘additional line’ is brought out by using dynamics, accentuation, displacement and articulation to highlight the chordal tones which are notated in longer note lengths. While it has been noted that Kyriena Siloti (the daughter of the transcriber and the transcription’s dedicatee) has recounted Siloti himself playing this work in this manner, this interpretation’s iconic status is also largely a result of Emil Gilels’s performance.26 This prelude is cited as an example of a realisation of a hidden melody.27 In this case the factor qualities necessary to bring out this melody are largely passed on by performance tradition.

Inferred polyphony passed on through performance tradition may have historical precedents in performance practices from the Baroque era onwards. These include realisations of both horizontally-inferred polyphony by means of overholding notes, articulation, agogic accentuation of chordal tones, as well as vertically-inferred polyphony by means of arpeggiation and note displacement. These performance techniques are also evident in historical recordings from the late 19th and early 20th centuries.28

Pierce brings to light the following example from Siloti’s transcription of the Adagio from Sonata for Violin BWV 1018 (shown in Figure 5.4) which uses accents added to the score to highlight a sequence of notes from consecutive chords, creating an effect of a

26 Charles Barber, “The Transcriptions,” in The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo (New York: C. Fischer, 2003), 13. 27 Pierce, “An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions […],” 77-78. 28 Bach, Versuch über die wahre Art, Teil 2, 343; Peres Da Costa, Off the Record, 134.

76 continuous voice.29 Single notes of what could otherwise have been thought of as a block chordal texture in the violin/piano right hand are highlighted, creating melodic interest.

Fig. 5.4 (a). Bach: Violin Sonata in F minor BWV 1018, mvt 3, bar 8.30

Fig. 5.4 (b). Bach/Siloti: Adagio from the Sonata for Violin and Keyboard in F minor, bar 8.31

The use of these accents points towards what is commonly known as voicing – highlighting a certain note within simultaneously sounding notes, generally by means of dynamics and accents. While dynamic markings are commonly used by transcribers to highlight specific melodic lines, they are not usually applied to highlighting individual notes from vertical block chords to form one line.32 Dynamic markings are more frequently used in polyphonic highlighting of a melody already individualised in the score, exemplified in Ivan

Cherlitsky’s marking of the bass in his Fugue in G minor BWV 578 forte as opposed to the

29 “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions of Works by J. S. Bach.” (DMA diss., University of Cincinnati, 2011), 33-34. 30 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 9 (Leipzig: Breitkopf und Härtel, 1860), 117. 31 Alexander Siloti, The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo (New York: C. Fischer, 2003), 19. This example was first sighted in Stephen Ross Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions of Works by J. S. Bach,” (DMA diss., University of Cincinnati, 2011), 34. 32 Naturally in that case the dynamic marking would likely be read as applicable to the whole chord.

77 soprano voice piano. It must also be noted that there have been divergent views on Baroque practices over the years. For example, Feinberg believed that Baroque-era audiences may have heard melodic independence within a multi-voiced texture more easily, and therefore did not require any dynamic alteration between voices.33 This opens up room for further exploration of the motives that may have driven transcribers when they made the score alterations highlighting hidden polyphony.

The analysis of the methods transcribers use to draw attention to an unidentified melodic line from within the original score not only allows one to construct a more complete picture of the transcribers’ stylistic preferences, but also suggests new ways of analysing polyphonic textures and performance practices. The most important conclusion that can be drawn here is that since the transcribers have inferred multiple layers from what is printed on the score as a single entity and used notational adjustments to make this identifiable to the interpreter of the transcription, similarly, when an analyst or performer infers polyphony from any score, they indeed make the same types of adjustments to the score which at that stage are likely to be un-notated. The terms ‘horizontally-inferred polyphony’, and ‘vertically- inferred polyphony’ are also introduced to show consideration for coherent melodic entities which can appear from vertical masses of sound.

Theoretical observations regarding inferred polyphony can be summarised as following:

● Melodic fragments can be inferred by selecting some notes from streams of single

consecutive notes, by selecting single notes from consecutive chords (highlighting

selected notes from monorhythmic simultaneously-sounding layers), and by a

combination of the two.

33 Feinberg, Masterstvo pianista, 35.

● The terms ‘horizontally-inferred polyphony’ and ‘vertically-inferred polyphony’ can

be used to denote the first two cases above respectively.

● Inferred polyphony can be realised in performance and recorded in transcription

scores by dynamics, accents, note durations, articulation and other techniques.

● The decision to infer polyphony can be dependent on score markings, auditory

grouping, intervallic structures and performance practices.

Part 3: Case Studies.

In the case studies that follow, the functions and interpretations of the three aspects discussed above (note durations, doubling, and inferred polyphony) will be applied comprehensively. The method of descriptive analysis of polyphonic textures in these case studies has been based on discussing the impact un-notated performance aspects have on the judgement of:

● the degree of polyphonic activity and ‘density’ of a segment,

● how many voices/layers are there,

● the roles the voices play,

● the independence of a line,

● what ‘qualifies’ a work to be considered polyphonic,

● the choice of prioritising either contrast or unity in an excerpt and in other dialectic

dualities inherent in polyphony,

● the prioritisation of one textural dimension over another,

● the analysis of lines in a polyphonic texture from the perspective of their contrapuntal

interactions, and how what was originally performer-oriented commentary can be incorporated into theoretical analysis. While the analyses in these case studies focus on the interpretation possibilities for the transcriptions, these possibilities are made obvious in part through comparison with the scores of the originals. In some cases this may lead to a discussion of the interpretative possibilities of the original works themselves.

The analyses experiment with a ‘bar-by-bar’ approach and a topical approach: the first case study works through the piece by small segments, discussing the overall effects present in the segments, while the second and third proceed with the analyses based on specific features visible at various points of the pieces. These case studies will show that a specific texture, and its consequent categorisation exists under the condition that factors such as pitch, duration and dynamics (loudness) collaborate in that specific way. Analysing Bach transcriptions from the outlook of an analyst-performer allows one to step away from the conflict of finding a ‘correct’ interpretation of Bach, and demonstrates the value of making a conscious informed interpretative choice. The transcription is a partial record of the transcriber’s specification of the factors that influence the textural result of Bach’s piece.

Case study 1: A. Vivaldi/J. S. Bach/S. Y. Feinberg: Concerto in A minor RV 522/BWV 593/Op 35, mvt 2. Adagio.

Samuil Yevgenyevich Feinberg (1890-1962) was a Russian/Soviet pianist, organist, composer, and teacher. Having studied with Goldenweiser, Feinberg himself went on to become a professor of the Moscow Conservatory. He also wrote two important books:

Pianism as an Art, and The Mastery of a Pianist, and produced numerous transcriptions including those of Bach’s works, particularly those originally written for organ.1 This case study analyses the second movement of Feinberg’s transcription of J. S. Bach’s Concerto in

A minor BWV 593 for solo organ, which had itself been transcribed by Bach from Vivaldi’s

Concerto for Two Violins RV 522. Although Feinberg’s transcription was first published in

1935, he created it in 1918 specially for his patronage performances in Red Army clubs where the transcription is said to have been successful.2 This case study draws on Feinberg’s own analytical approaches as found in his writings, and works systematically through the movement, discussing the potential overall textural interpretations of each segment. Only occasional comparisons with the Vivaldi original will be made.

Feinberg’s treatises have had significant influence on the formation of analytical viewpoints presented in this thesis. He claims that “An interpretation of a piece in essence can be compared to solving an n-th degree equation, which has an infinite number of possible answers”.3 Furthermore, the significance of mental performance as an interpretation is highlighted by Feinberg noting that it is possible to play not only out loud, but internally. He likens this type of interpretation to reading a poem in one’s mind, and observes that rhythm,

1 Samuil Yevgenyevich Feinberg, Pianizm kak iskusstvo [Pianism as an art] (Moscow: Muzyka, 1969); Samuil Yevgenyevich Feinberg, Masterstvo pianista [Mastery of the pianist] (Moscow: Muzyka, 1978). 2 Leonid Royzman, “Bahovskiye organnye sochineniya v transkriptsii dlya fortepiano S. E. Feinberga” [Bach’s organ compositions in S. E. Feinberg’s transcriptions for piano], in Samuil Yevgenyevich Feinberg. Pianist. Kompozitor. Issledovatel’ [Samuil Yevgenyevich Feinberg. Pianist. Composer. Researcher], ed. Irina Lihachyova (Moscow: Sovetskiy Kompozitor, 1984), 147. 3 Feinberg, Pianizm kak iskusstvo, 536.

82 euphony, and all the sonorous elements of the poem are realised in the imagination, despite the fact that it is unlikely that the poetry-lover would consider their interpretation to have objective value.4 Interestingly, Feinberg states that every notational sign must first be heard in the imagination, and then completed by the pianist, thus showing the importance of this pre-hearing process.5 It is this mental interpretation which I argue needs acknowledgement when the texture of a work is analysed. The importance of pianistic interpretation in the creation of texture is also noted: “Together with the author of the work, the pianist has to solve many compositional problems: he builds the texture of the work, and its sounding partitura, in his manner”.6 It becomes obvious that for a musician to analyse the texture of a work, they indeed need to create this texture themselves first.

Feinberg sees the role of the somewhat non-authorial score markings as prompting the pianist to use their imagination to realise the unsaid sides of the composer’s intention.7

Furthermore, he advocates for a dialectical process in the pianistic performance, where “the internal sonic world continuously gains new features in its realisation”.8 Regarding the theoretical analysis process itself, he also acknowledges the unavoidable difficulties of any attempt to prescribe every aspect of a live artistic presentation.9

Feinberg says that when polyphonic voices are highlighted, the pianist is effectively giving each element of the simultaneously-occurring sounds a different colour, as if assigning each voice to a separate instrument.10 This point is particularly relevant within the context of transcriptions and, as will be seen through the study below, the knowledge or lack thereof of

4 Feinberg, Pianizm kak iskusstvo, 59. 5 Feinberg, Pianizm kak iskusstvo, 75. 6 Feinberg, Pianizm kak iskusstvo, 181. 7 Feinberg, Pianizm kak iskusstvo, 77. 8 Feinberg, Pianizm kak iskusstvo, 78. 9 Feinberg, Pianizm kak iskusstvo, 83. 10 Feinberg, Pianizm kak iskusstvo, 176.

83 instrumentation choices by the composer, a previous transcriber or performer could impact one’s interpretation of texture from the score.

Looking at the movement overall, the Bach original is largely presents itself as being in three voices while Feinberg’s transcription provides an additional fourth voice, as well as numerous doubling examples, which may or may not be categorised as individual lines. The analysis of this movement works through a large portion of the second movement of the

Concerto in question, starting with the first four bars of the twelve-bar excerpt shown in

Figure 6.1.

Fig. 6.1 (a). Vivaldi/Bach: Concerto in A minor BWV 593, mvt 2, bars 1-12.11

11 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 38 (Leipzig: Breitkopf und Härtel, 1891), 163-164.

Fig. 6.1 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 1-12.12

The question of how to view the doubling in bars 1-4, as two individual lines which happen to have the same musical material or as one strengthening the other, will depend on various factors. While in this particular case the categorisation of doubling may not seem of paramount importance, the discussion will allow to expose some ambiguities which could arise from applying certain analytical processes so doubling. This could therefore be useful when an analyst-performer is attempting to make sense of a more dense texture employing doubling. If Feinberg’s score is to be taken as a first point of reference, the matching articulation in both lines may prompt an interpretation which unifies the two lines. Similarly, if one were to view the Bach original in light of potential performance possibilities (rather than assuming a ‘score specifies everything’ perspective, by which the absence of articulation

12 Johann Sebastian Bach, Kontsert dlya organa [Concerto for organ] (Moscow: Muzgiz, 1929), 10.

85 markings in the original may be taken to imply a prescribed same articulation throughout), perhaps the fact that there are no articulation markings leaves this factor more unspecified than in the Feinberg transcription. The fact that the articulation markings are not present in

Bach’s original does not prevent its performer from choosing that very same, unified articulation, which in reality is highly likely to be the performer’s choice.

Score markings/instructions are not the only way a composer or transcriber can use the score to influence the categorisation of a segment. In a comment relatable to this,

Feinberg has observed that it is not always possible to judge a composer’s playing style on the basis of the quantity and character of the score markings, saying that it is the method of presenting the musical material that should influence the decisions of the performer.13 The influence the context of the excerpt can have on its interpretation can be observed when comparing the determination of the independence of the two voices of the opening four bars of Bach’s and Feinberg’s scores. The fact that from bar 5 onwards, the Bach original continues to be in two lines (maximum two notes at a time) albeit with increased melodic and rhythmic diversity perhaps allows to retrospectively infer the existence of two distinct voices from the beginning. Furthermore the visual symbolism of the score, which places the two lines on separate staves, and assigns them to two separate hands allows for an easier perception of these lines as individual entities. Although a potential counter-argument in interpreting these lines could arise – that the change in register in the middle of bar 5 of the left hand is too great to be able to group the bass notes and the subsequent treble notes as one line – one only needs to look further ahead to the much smoother registral transition in bars

7-8 to start to prioritise the thematic and visual coherence within the left hand part over the registral differences, in judging it as one voice. In Feinberg’s transcription, however, the number of voices from bar 5 onwards increases instantly to four. This has an impact on

13 Feinberg, Pianizm kak iskusstvo, 50-51.

86 structural analysis too, marking this out as an identifiable section different from the previous four bars, which now are more easily perceived as introductory.14

Having analysed the opening by comparing Feinberg’s transcription with the Bach

Organ Concerto as the ‘original’, it is possible to reanalyse the excerpt in light of the Vivaldi

Double Violin Concerto from which Bach made his transcription. The opening is given below in Figure 6.2, showing the contrast in instrumentation choice between the adjacent phrases.

Fig. 6.2. Vivaldi: Concerto in A minor RV 522, mvt 2, bars 1-7.15

The opening and the final four bars (the latter are not shown here) are the only sections of the movement where the basso continuo instruments are utilised in the score.16

Had this been a factor that was known to the analyst-performer, the above conclusions regarding the independence of the lines in and structural significance of these segments

14 The converse is also true, with the knowledge of the introductory and concluding roles of the first and last four bars likely to impact the assessment of their texture. This leads to a perception of the two constituent lines as more blended when contrasted by the largely four-voice writing visible rest of the piece. 15 Antonio Vivaldi, Le Opere di Antonio Vivaldi, Volume 413 (Milano: G. Ricordi & C., 1965), 19. 16 Cellos, double basses, harpsichord in this edition.

87 would have been greatly impacted.17 The fact that in this section the concertato violins are doubling the tutti parts, according to common early concerto practice, may be decisive in pushing the analyst in the direction of classifying these lines as not carrying any significant independence. Dynamics, while editorial and varying between editions, could also play an effect in the judgement of the opening four bars being of thicker texture than the subsequent section. Furthermore, it is only in these sections that a continuo realisation is indicated, a fact which might indicate that in Bach’s time the continuo ‘filler’ notes were perhaps not considered as equivalent textural lines to the ones indicated on the score, because after all,

Bach did not include these realisations in his transcription as he easily could have.18

The presence of the bass and continuo parts in these outer sections of the Vivaldi also has great potential to influence the perception of the textural density of the Bach and the

Feinberg versions. Without knowledge of the Vivaldi it would have been easy to claim that the textural density in the phrases which utilise octaves is much less than in the rest of the movement. Knowledge of the instrumentation and continuo performance practice that can be inferred from the Vivaldi score might cause the analyst to imagine the ‘filled in’ texture of the octave sections in the Bach and Feinberg. Therefore, even though technically the four-bar groups in question would only have two notes sounding at any particular point, the way they will be performed and thought of can be ‘thicker’ in sound, compared to the following section. In the absence of the comparison with the Vivaldi original such implications could of

17 While it is highly likely that the analyst would already be aware of the Vivaldi original, as it is a well-known work, this example is discussed to demonstrate a conceptual issue of the impact of previous knowledge on analytical processes, therefore it is not of primary importance whether this particular piece is well known. 18 Needless to say, Bach was operating under a different regime, long before the work-concept had come into force, and therefore was under no obligations in terms of preserving any specific aspects of Vivaldi’s score.; Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford: Oxford University Press, 1992), 2-5.

88 course still have been drawn if the analyst-performer would draw parallels between these sections and similar pieces they might have already heard, performed or analysed.19

Moving back to comparing the Bach original and the Feinberg, in bar 13 (Figure 6.3) an extra voice is added by Feinberg. The C of the added part creates vertical tension with the

D in the left hand allowing both parts to gain extra independence due to the conflicting 7th, and extra momentum pushing towards a resolution.

Fig. 6.3 (a). Vivaldi/Bach: Concerto in A minor BWV 593, mvt 2, bars 13-19.20

This space is intentionally left blank.

19 However, if this interpretative choice to imitate the effect of such an orchestration had been made based on the knowledge of the Vivaldi original, the inclusion of such links in a written theoretical textural and structural analysis is more likely to be seen as authoritative rather than subjective. For example, even if it is assumed that Feinberg had been working on his transcription only from the Bach score, a claim that his opening texture is based on a tutti ‘ripieno’ section carries more objectivity and credibility if the claimant refers to Vivaldi’s score, as otherwise it is only made by association. This raises the question of what it is that makes analyses credible, and roles played by performers’ or transcribers’ knowledge. 20 Bach, Bach-Gesellschaft Ausgabe, Band 38, 164.

Fig. 6.3 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 13-19.21

Greater vertical dissonance has often been linked to greater polyphonic activity in ‘free-style’ counterpoint, due to the horizontal drive for resolution (or as Myuller calls it, the ‘stimulus to movement’) it creates.22 Depending on the accentuation, dynamic, rubato (or ‘placing of the note’) and potential displacement applied by the analyst-performer the tension of this dissonance will either be strengthened or minimised.

Furthermore, since rhythmically the extra voice is in crotchets it allows the resulting transcription to demonstrate a higher level of polyphonic activity compared to the original, as the rhythmic correlation of voices can be calculated to have a lower correlation score. The initial doubling of the F in bar 13, which is not continued through to bar 14, is likely to be classified as supporting the sound of the melodic F in the top voice, which is destined to naturally die out. However, one must admit that the fact that the bottom F will be treated as

21 Bach, Kontsert dlya organa, 11. 22 Myuller, Polifoniya, 59.

90 less important is because it is most likely going to be played at a softer dynamic by the performer, who would likely be focusing on the higher F. While Feinberg had spoken in an unflattering way of editorial addition of excess octave doubling, transferring notes into other octaves, and changing slurs and score indications, even for the sake of adapting to changing instruments, he did say that it is only when making transcriptions and arrangements where a pianist has the right to introduce certain ‘artistic corrections’ into the style of the author.

However even in transcriptions, one must avoid excessive elaborations, because the main aim of transcriptions, Feinberg says, is to retain the style of the original work where possible, and to transmit the character of the sound of the original by other means.23 Knowledge of this viewpoint can influence the interpretation of doubling in Feinberg’s transcription, making an interpreter lean towards methods of imitating the sound of the original instrument.24 A common way that doubling can be used as a technique to allow a piano transcription to resemble another instrument is by imitating the doubling of an 8 foot sound with a 4 foot upper octave sound on an organ.25 The technique can be used for the same purpose by performers and composers.

In bar 14 the espressivo coupled with the ‘hairpin’ crescendo and diminuendo markings provide a specification that the middle voice will likely take precedence over the B flat in the upper voice. The notion that these ‘hairpins’ apply to the semiquaver voice is supported by the shift of these hairpins to the semiquaver voice (top) in bar 15, with bar 16 similarly equipped with a ‘hairpin’ for the semiquaver voice. Feinberg himself has noted that

“A pianist must care for the individual characteristics – timbral and dynamic – of each voice.

23 Feinberg, Pianizm kak iskusstvo, 39-41. 24 Royzman had dedicated a separate category to organ transcriptions which aim to reflect the sound of the original instrument on the piano; Royzman, “O rabote nad polifonicheskimi proizvedeniyami […]”, 80-81. 25 Pierce, “An Examination of Alexander Siloti's Printed Solo Piano Transcriptions […],” 71.

However, with that, the selection of refined techniques is necessary, and one must avoid even a shade of becoming annoying”.26

The added lower voice in bar 14 turns into the middle voice at the first note of bar 15.

The bass line from Bach’s score is therefore hidden amongst the notes of the added part.

Visually, the original lowest line ends up permeating the other parts. This can be observed in

Figure 6.4 below.

Fig. 6.4 (a). Vivaldi/Bach: Concerto in A minor BWV 593, mvt 2, bars 14-15.27

Fig. 6.4 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 14-15.28

Whether and to what extent the linear connection of the pitches that make up the original bass line is lost will be greatly impacted by the voicing the pianist chooses. Most likely, however, the analyst-performer will treat the lowest note of each group as the linear entity. It does seem like the only reason an analyst-performer would interpret it otherwise would be in an attempt to reflect the Bach original. Here the dilemma of prioritisation of an original score over a transcription arises.

26 Feinberg, Masterstvo pianista, 41. 27 Bach, Bach-Gesellschaft Ausgabe, Band 38, 164. 28 Bach, Kontsert dlya organa, 10.

The term ‘bass line’ as applicable to this segment is however in itself controversial. Is the bass line the lowest series of consecutive pitches? Or is there a hidden bass line which one may find by a Schenkerian-like process of reduction by highlighting only some notes of the series of consecutive pitches? Once again, if the analyst is acquainted with the Vivaldi original (shown in Figure 6.4 (c)), there is a higher chance that they would interpret the harmonic functionality of the lines in the same way as they would in the Vivaldi score. This example demonstrates, that while defining a bass line as the lowest series of consecutive pitches would simplify the question from a semantic point of view, such a definition limits the possible harmonic and voice-leading intricacy of the overall texture. Therefore, a decision to categorise a series of pitches as a bass line is also dependent on performative aspects, and on prior knowledge.

Fig. 6.4 (c). Vivaldi: Concerto in A minor RV 522, mvt 2, bars 14-15.29

29 Vivaldi, Le Opere di Antonio Vivaldi, Volume 413, 20-21.

This adds a further layer to the question of perceived authority: is the original composer’s score more authoritative than that of the first transcriber in the interpretation of both transcriptions, or is the first transcription a higher authority than the first score when interpreting the second transcription, or should the three works be analysed independently without referring to any of their predecessors? While the answer to this question is largely dependent on the responder’s attitude to the concept of the work, the point that can be learnt from this is that knowledge of the other versions will definitely be an influence in the interpretation of any one version.

The fashion of searching for hidden melodic lines within a texture has led Feinberg to say that:

[…] the new style of pianistic presentation and pedalling has caused concertising pianists to chase hidden textural voices. In these ‘finds’ many performers see a manifestation of their originality and independence in the interpretation of famous, and frequently-heard works. [...] One can suggest that the interpretation of many classical works ‘with the participation of added voices’ is what caused Rachmaninov to comment “pianists love to highlight voices”.30

While Feinberg does note that “in some cases a pianist must possess clear ideas of so-called

‘hidden polyphony’ and be able to highlight in the fabric of figuration individual steps of voice-leading”, he does say that when performing “polyphonic music where mono- voicedness and multi-voicedness are fundamentally contrasted” it is necessary to be led by the form, and not separate a single voice into two.31 Again, the above quotations can provide further incentive for an analyst-performer to sway towards one of the possible interpretations of the segment in question.

This reinvention of a polyphonic segment also has implications for its harmonic and contrapuntal analysis, due to the intervals created as a result of the B-flat bass note. At this

30 Feinberg, Pianizm kak iskusstvo, 106. 31 Feinberg, Pianizm kak iskusstvo, 227-228.

94 stage it is once again important to contextualise this motif. Perhaps the first note and its following lower octave of bar 14 can be treated as the actual ‘bass note’; in that case, the harmonic essence would not effectively be altered, as the second half of the bar would be considered an elaboration on the octave on the first beat of the bar. If viewed in this way, the lowest notes in this and subsequent segments are therefore more separated from the surrounding musical material, consequently becoming an ‘inferred’ line. When comparing the original with the transcription, the primary difference is the register, with the lowest notes being one octave below those of the original.32 While this lower pitch may create a greater sense of contrast with the upper parts, and therefore be more easily discernible in contrast to the higher notes, whether or not these lower notes would be identified by the analyst- performer as a line from a compound melody will be influenced by how both this and the following notes are played. If the lower notes are played with a touch resulting in more resonance, and with a differing articulation from the rest, the illusion of the lowest note lasting throughout the bar will be created. Such an effect in the Feinberg will be greatly enhanced by the potential use of pedalling, which in the case of this score is left to the performer’s discretion. Pedalling can extend the real length of the note, past the written value.

However, due to the density and number of the notes following each bass note, the pedal, if used, is likely to be released soon after in order to prevent excessive blurring. If pedalling is not used, illusory hearing is more urgently needed if one is to perceive the bass note as being sustained through the whole bar, and therefore as the harmonic foundation, both in the Bach and in the Feinberg.

Feinberg acknowledges the role of illusion in the understanding of texture. He observes that illusiveness (from ‘illusion’) and reality in music always complement and influence each other, with the musical fabric being permeated by the interpenetrating

32 Perhaps this temporarily imitates a 16-foot sound.

95 elements.33 Imagined notes, Feinberg discusses, can also potentially carry less weight, and highlighting a note in one’s mind does not necessarily translate into it being highlighted in future realised performances.34 The latter observation aligns with the idea that an imagined performance may be different to a realised one; however it also presents a specific rendition of each factor and therefore should be acknowledged in analytical processes. Feinberg regarded non-pedalled sound as useful in transmitting orchestral sounds on the piano, due to the fact that the clearly-perceived echoes of the pedal, so characteristic of the piano, effectively blur the resulting texture, nearly always breaking the illusion of simultaneously sounding different instruments.35 Perhaps though, in imitating organ sound, Feinberg did draw on the effect of the pedal to sustain certain notes. The neglect of the instrument by pianists, as well as the symbolism and non-realism of note length notations, have indeed also been noted by Feinberg.36 Imitation of organ notes has been explored by means of finger pedalling with the following conclusion: “Of course, a sustained note on an organ is ‘bigger’ than pedal, just as an overheld note on the piano is ‘less’ than a held note of an organ”.37 On a piano however, the relative weighting and resonance of the different notes and lines could have greater variety than on an organ, elements which are again more performative rather than inbuilt into the score. Furthermore, the effective length and coherence of the bass line is also influenced by the tempo at which the work is performed. If a slower tempo is chosen, at which it is possible ‘pronounce’ each individual note more distinctly, then the likelihood of interpreting the B flats in bar 14 left hand as being of harmonic significance could become higher than if the tempo is more flowing. A faster tempo, however, would allow to more easily perceive the first beat bass as extending into the rest of the bar. At this faster tempo,

33 Feinberg, Pianizm kak iskusstvo, 49. 34 Feinberg, Pianizm kak iskusstvo, 49. 35 Feinberg, Pianizm kak iskusstvo, 104. 36 Feinberg, Pianizm kak iskusstvo, 231-234. 37 Feinberg, Pianizm kak iskusstvo, 365.

96 the treble register, and the fact that the B flats are not on the first beat could cause it to be less likely perceived as a bass note.

Phrasing poses additional questions in analysis, for if the slurs are indicative of the motivic grouping, the first beat bass notes do not belong to the rest of the bar; in turn, the remaining part of the bar can be thought to be directed towards the subsequent first beat.

Motivically, the fact that the first beat of the movement is the octave motif without its

‘upbeat’ material, and the fact that the octave motif itself is treated as a lead-in to a resolution at the very end of the movement suggests that hearing the harmonic tension as lasting until the following first beat is logical, as the octave itself can have unresolved tension potential.

These things do not in themselves mean that the first beat bass cannot harmonically connect the two phrases, it just puts further responsibility on the analyst to take into account the performance factors, which may highlight either the dissociation or the link between the two sub-phrases.38

In bars 15 and 17 (Figure 6.5) there is further rhythmic complexification resulting from the splitting of the dotted crotchet and the addition of a sustained note beginning off the beat. As a result of higher rhythmic contrast between the parts within this bar, the potential for the realisation of conflict between the constituent lines becomes higher than in the original. The degree of independence which the ‘tenor’ and ‘bass’ parts in bars 16-18 possess from each other depends not only on the knowledge of the fact of the tenor’s addition to the original, but also on technical issues which this passage poses to the performer. While some parts of the tenor line may be taken by the right hand, this decision is ultimately left up to the performer, meaning that the possibility of splitting the parts exists. Neither the right hand use, nor the potential splitting of chords is notated, and the likelihood of such splitting occuring

38 Feinberg also acknowledges the phrasing is interconnected with the melodic ‘plasticity’ (and relief-ness) of a phrase and is an important factor in the resulting sound.; Feinberg, Pianizm kak iskusstvo, 177-178.

97 may also be influenced by performance practice. Hence the categorisation of the degree of independence of some monorhythmic notes within a polyphonic texture also largely depends on the performer’s choice due to practicality, taste or convention.

Fig. 6.5 (a). Vivaldi/Bach: Concerto in A minor BWV 593, mvt 2, bars 19-24.39

Fig. 6.5 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 19-24.40

The accents added in bar 19 (Figure 6.5 (b) above) can offer the chance for realising the melodic potential in a fragment which otherwise is unlikely to be melodicised, and depending on the voicing choice within the octave, can influence the categorisation of doubling. Furthermore, the rhythmic pattern and melodic direction in this realised melodic

39 Bach, Bach-Gesellschaft Ausgabe, Band 38, 164. 40 Bach, Kontsert dlya organa, 10.

98 fragment result in the appearance of a pseudo-retrograde-inversion treatment of the opening octave motif. The overlay of this structure with the underlying ‘typical’ bass and upper parts, results in a higher degree of polyphonic tension. In bar 22 the repeated E quavers, despite being in the middle register, have the possibility of seeming more independent from the E in the top voice due to the fact that they (the lower Es) are written as consecutive quavers, rather than as semiquavers interspersed with upper neighbours; however in the reality of performance the quaver may not be realistic, especially if the pianist has chosen to enact the legatissimo marking in the top voice.

Bar 23 shows an example of how an added sustained note may contribute to the horizontal connection between successive notes, therefore specifying the directionality in that particular voice, but also indirectly forging a connection between the consecutive notes of the other voices, strengthened by the legatissimo phrasing continued from bar 22. The presence of the connected note provides a means for differentiating this voice from the other ones.

Interestingly, despite Feinberg’s own extensive use of legato in music with multiple linear entities (as evidenced, for example, in his recordings of the Well-Tempered Clavier), he wrote that when performing polyphonic music, it is sustained notes in the form of legato and pedalling that can be a barrier to clear voice leading. The use of non-legato in polyphonic music on the contrary, is supported.41 Furthermore, the negative effects of pedalling on linear differentiation in polyphonic textures, due to the erosion of the barriers between legato, staccato, un poco legato, non troppo legato, leggiero and martellato are discussed.42 When categorising available types of pedalling, Feinberg refers to a type of pedalling often used in organ transcriptions, the so-called ‘pedal with compromise’, which is when the pianist balances using enough pedal to sustain a longer note, while not causing the other voices to

41 Feinberg, Pianizm kak iskusstvo, 228.; Recordings accessed from https://youtu.be/OzerJmdStq8 and https://youtu.be/9fU40nXwQts on 23 March 2019. 42 Feinberg, Pianizm kak iskusstvo, 338.

99 blur excessively.43 In the context of this thesis, these views can be extrapolated in the following fashion: if an analyst-performer imagines the work with applied pedalling this can in certain cases create a less polyphonically differentiated texture for the work, than if pedalling were not used. This complexity of pedalling points to another, more general analytical difficulty. Whereas at one point an analyst-performer may identify a certain realisation as resulting in a higher polyphonic intensity, this same technique at another point could be perceived as serving the opposite function due to the varying realisation of the contributing performative factors. Thus, this difficulty demonstrates once again how polyphonic analysis often has a perceptual basis.

The second half of the transcription not only displays further use of similar techniques to those discussed above, but also introduces new textural complications. The doubling that happens in the left hand from the end of bar 24 to bar 25 (bar 24 is shown in Figure 6.5) is written differently from the earlier octave doublings due to the use of different stems. This not only suggests that here the doubling will be interpreted as two separate lines, despite the

Bach original only having one line, but also may again have implications for retrospective classification of previous doubling in which the two notes do share a stem. However, while the use and printed positioning of individually-stemmed notes are very particular throughout the movement, they do not always display consistency.44

Looking ahead to Figure 6.6, in bars 31-33 parts of the original right hand voices are shifted up/down an octave, introducing a disruption into the horizontal flow of each of the melodic voices in the right hand due to the resulting changes in register (the shifted material is marked in green in Figure 6.6 (b)). The contrast created by the register shifts is exaggerated by means of the specified dynamic changes, resulting in a greater answering ‘echo’ effect of

43 Feinberg, Pianizm kak iskusstvo, 349. 44 These features may be a publisher’s decision.

100 the pp phrase. Feinberg’s use of doubling in the right hand (marked in blue in Figure 6.6 (b)) also impacts the original intervallic relationship. Although the blue notes are actually in the same register as the original line, and the notes directly above each of them (the second highest green line) could be considered an inversion of the original interval around the green notes, it is more instinctive to instead categorise the top two notes (green) as being an octave displacement of the original. This is due to the melodic significance of the top voice, and the unlikelihood of voicing the notes marked in blue as being more predominant compared to the top green ones.

In the original, the ‘answer’ phrase in bars 32-33 can be quite clearly seen as an inversion of the phrase in bars 31-32. However, in Feinberg’s transcription, due to the doubling in bars

31-32, the subsequent ‘answer’ phrase is unlikely to be interpreted as an inversion of the previous one, since the lower (right hand) notes of bars 32-33 are already contained in the previous phrase. If anything, it is more likely that the ‘answer’ phrase in bars 32-33 would be assumed as having eliminated the top voice of the previous phrase.

Fig. 6.6 (a). Vivaldi/Bach: Concerto in A minor BWV 593, mvt 2, bars 31-34.45

45 Bach, Bach-Gesellschaft Ausgabe, Band 38, 164.

101

Fig. 6.6 (b). Vivaldi/Bach/Feinberg: Concerto in A minor Op. 35, mvt 2, bars 31-34.46

The likelihood of identifying the inherent inversion of the two original lines from the transcription is also reduced by the thickening of the texture by Feinberg’s added voice

(marked in red) which despite the thickness of surrounding layers has a potential to be identified as interesting, particularly due to its similarity in rhythm and melodic shape to the motivic ideas introduced in the first two bars and which then permeates the accompaniment throughout the rest of the movement. This added voice not only adds rhythmic complexification and higher polyphonic intensity, but it also demonstrates thematic unity and homogeneity throughout the work. This example demonstrates how additional voices

(including doubling), while potentially rendering an excerpt more polyphonically active and dense, may effectively blur the independence and intervallic relationships, bringing the passage closer to the ‘degree of saturation’ after which the individuality of the voices will be lost.

46 Bach, Kontsert dlya organa, 12.

102

The separation of the phrase in bars 31-32 from the ‘answer’ phrase in bars 32-33 is also strengthened by much denser activity in the lower stave during the former phrase than the latter. While the reason for the textural difference could be the desire to achieve clarity, which, due to the lower register of the second phrase could potentially be compromised if it had been overloaded, the result allows for a stronger divide between the two phrases. The use of arpeggiando in bar 32 could also have an influence on both tempo choice and horizontal melodic fluidity.

A few final observations must also be made. Feinberg interprets the appoggiatura in bar 31 as having melodic significance, assigning it a semiquaver value (marked in yellow).

Doubling should also be noted to play a structural role in the piece overall. The more extensive doubling in the middle sections of the transcription, both in the left and right hands, strengthens the overall ‘arc shape’ of the piece in terms of structural tension. The remaining segment of the movement uses material similar to that discussed above and is therefore not described here.

Analysing this transcription by Feinberg demonstrates how it is possible to draw on discussions on polyphonic analysis that Feinberg had provided in his written works and adapt these views to discussing the role of the analyst-performer. This transcription also demonstrates how texture is created not only by the score-specified features, but also by factors such as dynamics, articulation, tempo which are realised by the performer and can only be partially specified in the score. An important role in the judgement of texture is also played by illusionary assumptions which Feinberg himself had acknowledged. The choice of how to utilise these factors can be influenced by artistic aims, visual aspects of the score layout, and the potential imitation of other instruments. The fact that this transcription is a

‘double transcription’ also allows one to observe how the knowledge of various precursor

103 versions of a work can influence textural interpretation, and opens up further questions about the relative authority assigned to original scores and transcriptions.

104

Case Study 2: J. S. Bach/A. L. Ioheles: Esurientes implevit bonis from Magnificat BWV 243.

Alexander L’vovich Ioheles (1912-1978) was a student of Konstantin Igumnov, and a professor of the Tbilisi Conservatory and later of the Gnessin Institute of Music.1 He produced numerous piano transcriptions of works by composers ranging from Bach to

Rachmaninov. This case study focuses on analysing Ioheles’s transcription of the Aria

Esurientes implevit bonis from Magnificat BWV 243 and identifies how the differences between the Ioheles’s transcription and the original will have an impact on textural realisation on the part of the analyst-performer. While some of the analysis is comparative, the discussion also moves beyond comparisons, viewing the original and the transcription as separate self-sufficient entities, rather than the latter necessarily requiring comparison with the former.

Setting aside any possible second-level melodies from inferred compound melodic lines, Bach’s original score provides four clear notated linear entities. When the realisation of

Bach’s score in performance is considered, the picture becomes more ambiguous. The bass line is essentially a minimal representation of a continuo part, which in practice would involve numerous additional notes creating further tension with the counterpoint of the provided lines. While these are unnotated dimensions of Bach’s score, knowledge of and attitudes towards historical performance practices are likely to influence how the score would be performed, analysed, and transcribed.

1 Vera Borisovna, Nosina, “Moy uchitel’ Ioheles” [My teacher Ioheles], in Fortepiannaya pedagogika Rossii [Piano pedagogy of Russia]. (Moscow: Moscow Schnittke State Music Institute, 2008), 22-29.

105

Fig. 7.1 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 1-2.2

Fig. 7.1 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 1-2.3

The markings organo e continuo and pizzicato (Figure 7.1 (a)) imply that at least an organ and a bass string instrument will potentially be used in the performance of the continuo part.

The organ part implies improvised realisation and therefore the result can vary widely in terms of rhythmic activity or complementarity, canonic intensity, registral contrasts, intervallic tension. Consequently, the resulting polyphonic complexity of the work will differ with each variation in the continuo improvisation. If the possible combinations resulting from the influence of the improvised continuo are not taken into account, judgements regarding textural density or contrapuntal tension will be made on the assumption that no additional

2 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 11.1 (Leipzig: Breitkopf und Härtel, 1862), 51. 3 Alexander L’vovich Ioheles, Kontsertnye obrabotki dlya fortepiano solo proizvedeniy I. S. Baha, R. Shumana, S. V. Rahmaninova. Shedevry fortepiannoy transkriptsii. Vypusk 21 [Concert arrangements for piano solo of works by J. S. Bach, R. Schumann, S. V. Rachmaninov. Masterpieces of piano transcriptions. Volume 21] (Moscow: Deka-VS, 2012), 9.

106 lines are added. Therefore, such an analysis would make the choice, without necessarily acknowledging it, to analyse a version of the piece without the elaborations. This demonstrates the principle that the work is created from the score, not that the score is indeed the work itself.

In Ioheles’s transcription (Figure 7.1 (b)) this variability is eliminated, as there is no requested or expected realisation of the bass (i.e. continuo) line. Instead, the score contains a number of added ‘filler’ notes (indicated in 7.1 (b) in red) which are unlikely to be grouped together as a continuous horizontal linear entity. In cases such as in bar 2, the last beat of the right hand may in fact be analogous to a realisation of the continuo part, and the rest used above this implies that this realisation is indeed treated as a separate part. In this context the two chords in the right hand can be seen as one layer within the overall polyphonic texture, and similarly they can be broken down into their own constituent voice leading streams.

Similarly to the right hand in the last beat of bar 2, in many cases, the ‘filler’ harmonic notes are written in rhythmic unison with the original bass line, and frequently the two are stemmed together. These notational conventions can also influence how polyphonic relationships will be interpreted by the analyst-performer.

However, these notational conventions cannot be assumed to fully represent objective polyphonic relationships. If one is to assume that the manner of writing notes which are in rhythmic unison under single stems is to be seen as an indication of their unification and more limited independence, this would imply that the two flute lines possess the same degree of unity as the melodic lines of the continuo elaborations, and even less independence than the relationship of the right hand’s harmonic elaboration has to the left hand bass line.

Therefore, if comparing the scores, the flute parts have partially lost their independence when transferred to the transcription, primarily due to the practicalities of the transcribed score’s notation. This visual impact can then be extrapolated to deduce that polyphonic independence

107 is lost when the piece is transferred from a score which requests a minimum of four performers to a score requiring only one. The fact that these notational aspects are non- specific, again suggests that in any score analysis the polyphonic activity of the texture is in part a result of the performance in which the notation provided is made sense of in one way or another.

In polyphonic analysis, the question of hierarchy, or apparent lack thereof, among different horizontal lines is always of primary importance. In a transcription such as

Ioheles’s, the transference of what were originally lines from various instruments to a score for a sole instrument (piano) results in an ever-more-important role for the analyst-performer.

Due to the fact that the tone colour contrast available is minimal, the analyst-performer would require additional alterations to prioritise certain lines. In Ioheles’s transcription, there are several situations where the assigned hierarchy of voices and the canonic intensity is influenced by additional factors apart from the written notes themselves. An example is bar

10, in which the entry of the upper voice has a potential to ‘interrupt’ the prior melody to various degrees (marked in blue and red in Figure 7.2 (b)).

Fig. 7.2 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 9-10.4

4 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51.

108

Fig. 7.2 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 9-10.5

The fact that this voice is marked p does not necessarily imply that it will be interpreted as being softer, as it is unclear what dynamic marking the previous thematic statement commences in. However, considering the pp marking in the previous bar is introduced where Ioheles opts for a harmonic realisation of the original continuo bass line rather than more indisputable melodic material, and that every time the pp marking is used, it is in these instances of bass line realisation (bars 2, 9, 18, 20), it is logical to assume that this marking does not extend itself to the top voice in beats 1 and 2 of bar 10. Furthermore, the likelihood of the imitation being softer is supported by a comparison with the original, in which the lower line is the one which carries the text.6 On the contrary the imitative answer could be interpreted as the one which moves to the foreground, increasing the ‘canonic intensity’ and polyphonic activity, aided by its use of a contrasting higher register, highlighting the imitative quality of this excerpt. The dynamics/accents applied by the analyst-performer are therefore crucial to the resulting description of the polyphony in this excerpt as these have the power to change the perception of and role played by the voices in the overall texture. Furthermore, other features added freely by the performer at their artistic discretion, such as diminuendos within the melody, dynamic balance between the melody and the bass line, the articulation and resonance of each of the notes taken, and the tempo chosen,

5 Ioheles, Kontsertnye obrabotki dlya fortepiano, 10. 6 This assumption however can be made as in this case there is the luxury of comparing the score with its precedent, whereas if the transcription were treated as a stand-alone work it would not be possible to draw on such a source.

109 are all factors which influence the final texture. It is worth noting that these factors themselves are created by technical considerations such as fingering, weight used, key action, and acoustics, amongst others.

The use of accents is very important, giving a specific instruction to the analyst- performer. These accents can serve as a method of prioritising the role of a certain line, such as is the case with the accents in bars 12-14 (Figure 7.3) which correlate to the notes which originally had text and help distinguish this line from the surrounding notes. If these notes

(highlighted in Figure 7.3 (b) in red) did not have accents marked, there would be a greater likelihood of the analyst-performer interpreting this segment in such a way that the surrounding voices would be prioritised and ‘swallow up’ the middle line. Such differentiation also may hint at the layers evident in the original instrumentation, even to a transcription interpreter unaware of the original score.

Fig. 7.3 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 12- 14.7

7 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51.

110

Fig. 7.3 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 12-14.8

Furthermore, accents such as those in bars 5-6 (Figure 7.4) also result in higher canonic intensity, by creating additional contrast with the surrounding line (added to the original).

The role of the accents in these bars can also serve to propagate and extend the effective length of each note through the slower decay of the sound. Combined with the staccatos in the other voice, this excerpt therefore provides specification of certain factors which can affect the resulting texture.

Fig. 7.4 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 5-6.9

8 Ioheles, Kontsertnye obrabotki dlya fortepiano, 10. 9 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51.

111

Fig. 7.4 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 5-6.10

In Ioheles’s transcription, specific notation choices also play a role in the interpretative selections that the analyst-performer makes. Ornamentation and its placement can have a significant effect on linear coherence as well as multidirectional contrapuntal tension, both in terms of the tension potential of the resulting vertical intervals, and the horizontal impulse they create. Notably, in bar 17 a note which in the Bach original has the role of a final tonic note within a melody, is written by Ioheles as an acciaccatura (marked in red in Figure 7.5). This is probably done for the practical reasons of hand span limitations, to enable the sounding of the new voice while maintaining the formal voice-leading smoothness.

Fig. 7.5 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 16- 17.11

10 Ioheles, Kontsertnye obrabotki dlya fortepiano, 9. 11 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 52.

112

Fig. 7.5 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 16-17.12

However, the importance of this note is still highlighted by the acciaccatura being given an accent. This accent could potentially not just strengthen the note dynamically within a bar marked as p, but also enhance its effective length. Ultimately, the prominence this note is given, its role in disrupting or not the melodic flow of the surrounding notes, its relative importance to and displacement of the surrounding notes in the overlapping lines, and the effective tension it creates with the ascending motif, will depend on the performance (such as its effective metrical position or displacement).

In Ioheles’s transcription, the use of doubling also changes the polyphonic potential of the original work. In bar 15 (Figure 7.6) the octave doubling in the bass increases the registral distance with the following note, therefore creating more potential for the exploitation/realisation of an otherwise hidden stepwise bass from B to C♯. However, in the same bar, the upper voices, which in the original are canonically displaced, are combined into single octaves in Ioheles’s transcription, thus reducing the original intensity. A question arises as to whether the knowledge of the imitation in the original plays a role when categorising the octaves in the right hand as consisting of two independent lines, or not.

12 Ioheles, Kontsertnye obrabotki dlya fortepiano, 10.

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Fig. 7.6 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 15.13

Fig. 7.6 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 15.14

Furthermore, it is interesting to note that in the original, the fact that there is much greater timbral contrast between the constituent voices allows for a different perception of dissonance. Here it should be noted that while dissonances have been considered more polyphonically active than consonances, dissonances have sometimes been seen as less confronting in contrapuntal writing when they are split between contrasting timbres.15 This shows that an awareness of the original timbre may once again cause the analyst to reconceive their perception of the dissonances created by the constituent melodic lines of

Ioheles’s transcription. The contrapuntal intervallic relationships between lines change as a result of doubling. In bars 11-12 (Figure 7.7) the change from doubled bass notes to non-

13 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 52. 14 Alexander L’vovich Ioheles, Kontsertnye obrabotki, 10. 15 Skrebkov, Uchebnik polifonii, 193; Myuller, Polifoniya, 59.

114 doubled bass notes causes the transcription’s line to differ in intervallic structure and voice direction from that of the original.

Fig. 7.7 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 11- 12.16

Fig. 7.7 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 11-12.17

In bar 21, the displacement of the upper voice down the octave for the first half of the bar and the alteration of the register afforded by doubling in the lower voice result in different linear directions and intervallic relationships. For example, the resolution of the E♯ to F♯ in the top voice of the original does not occur so directly in the transcription due to the E♯ being one octave lower, thus left hanging. This displacement and lack of direct resolution plays an important role in treating the theme commencing halfway through the bar in the top voice as

16 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51. 17 Ioheles, Kontsertnye obrabotki, 10.

115 being separate from those in the first half of the bar. This is an example of how important notated alterations to the original score are in altering the polyphonic material.

Fig. 7.8 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21.18

Fig. 7.8 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21.19

Ornamentation treatment by the transcriber also results in textural changes to the original score. The ornament in bar 9 is compared with its original in Figure 7.9:

This space is intentionally left blank

18 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 52. 19 Ioheles, Kontsertnye obrabotki, 11.

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Fig. 7.9 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 9.20

Fig. 7.9 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 9.21

Writing out the trills as an elaboration utilising contrary motion results in lines which specify greater dissonance including the use of the 7th interval between the ornamental lines themselves, and the lower ornamental line and the doubled bass note. A similar case occurs in bar 11 in which the elaboration uses a 9th in between the ornamental lines.

Fig. 7.10 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 11.22

20 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51. 21 Ioheles, Kontsertnye obrabotki, 10. 22 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51.

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Fig. 7.10 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 11.23

This, together with the specification of the placement of the ornament on the beat (signified by means of the dotted line), provides the line with a more specific, and potentially higher intervallic impulse (tension which drives a note to resolution), and allows the constituent lines to be categorised as more independent than if they had been parallel 6ths. Similarly, if ornaments such as trills were to be executed in an unmeasured fashion, it is less likely that the tension between the individual notes within the ornament will be interpreted by the listener or analyst-performer with a ‘magnifying glass’ due to the speed and aleatoricism of the resulting sounds. In bars 18 and 20 the ornaments are still written out; however they use the more intuitive realisation of parallel sixths.

Fig. 7.11 (a). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 18.24

Fig. 7.11 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 20.25

23 Ioheles, Kontsertnye obrabotki, 10. 24 Ioheles, Kontsertnye obrabotki, 10. 25 Ioheles, Kontsertnye obrabotki, 11.

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Ioheles uses symbolic ornaments too, including the trill in bar 27 and the mordent in bar 28

(Figure 7.12). The trill in bar 27 is added by Ioheles most likely as a method of sustaining a note which would have been held by the voice. The mordent sign is used instead of what may have been a tr sign in the score used (it is not possible to say with certainty which edition of

Bach’s original work was used by Ioheles).

Fig. 7.12 (a). Bach: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 27- 28.26.

Fig. 7.12 (b). Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bars 27-28.27

Arpeggiation of the chords can also influence the continuity of individual lines, and while the arpeggiations in bars 1, 3 and 7 affect the left hand, the arpeggiations in bar 35 cover the whole range of voices as single arpeggiandos (notated as one sign over both staves), which combined with the allarg[ando] indication result in a prioritisation of the top voice as a continuous line (Figures 7.13-7.16). The latter would be a result of each top note being the

26 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 52. 27 Ioheles, Kontsertnye obrabotki, 11.

119 last in each arpeggiando, with the preceding notes taking on an elaborative function, leading to that top note. The lower voices’ linear direction is therefore less likely to be as coherent, if they are interpreted ‘lead-ins’ to the top note. For reasons such as historical performance practice imitation, arpeggiation can also be potentially realised by the interpreter of the transcription score in places where it is not marked on the score.

Fig. 7.13 (a) and (b). Bach, and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 1.28

Fig. 7.14 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 21.29

28 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51; Ioheles, Kontsertnye obrabotki, 9. 29 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 52; Ioheles, Kontsertnye obrabotki, 11.

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Fig. 7.15 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 7.30

Fig. 7.16 (a) and (b). Bach and Bach/Ioheles: Aria Esurientes implevit bonis from Magnificat BWV 243, bar 35.31

The points raised above allow to observe various aspects specified or added to the score by the analyst-performer. The role of real or assumed timbre in intervallic tension and thematic prioritisation amongst contrapuntally-active voices is also shown to be important.

As in the previous case study, an awareness of the original score could potentially have an impact on the conclusions made by the analyst-performer. Some of the factors which guide the analyst-performer’s categorisation of the polyphonic features are dictated by note alteration, while others such as articulation/accents, dynamics and tempo can be added to the score by the transcriber providing relative specificity, eliminating many alternative

30 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 51; Ioheles, Kontsertnye obrabotki, 9. 31 Bach, Bach-Gesellschaft Ausgabe, Band 11.1, 53; Ioheles, Kontsertnye obrabotki, 12.

121 interpretations. The remaining features are created in the interpretation by the analyst- performer.

122

Case study 3: J. S. Bach/V. S. Belov and J. S. Bach/A. S. Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031.

The Sicilienne from the Sonata for Flute and Harpsichord BWV 1031 has inspired multiple transcriptions, including one by Wilhelm Kempff which has enjoyed relative popularity amongst performers.1 Amongst the representatives of the Russian/Soviet tradition, at least three pianists have made transcriptions of this work: Siloti, Nemerovsky, and Belov.

For reasons of space and research novelty, this case study deals with the Sicilienne transcriptions by the latter two transcribers: Nemerovsky and Belov. Alexander Sergeevich

Nemerovsky (1859-?) was a student of Ivan Femistoklovich Neysilov, who in turn had been a student of Liszt. Vladimir Sergeevich Belov (1906-1989) had been taught by Felix

Blumenfeld.2 Interestingly, the attribution to J. S. Bach of the sonata from which the

Sicilienne comes is disputed, with alternative authorship suggestions including C.P.E. Bach.3

This however, does not preclude the inclusion of this work in this study of J. S. Bach transcriptions, as the transcribers most likely approached the work as if it were by J. S. Bach, since this is how it was published at the time. Therefore, it can also be assumed that the transcribers’ treatment of the score was influenced by their views on J. S. Bach’s music.

The two transformations of the Sicilienne by Belov and Nemerovsky are considerably different both from each other and from the original score. In the case of Belov’s transcription, there are frequently four strands while in the original score there are three main linear elements: one in the flute part, one in the right hand of the harpsichord, and one in the

1 The score of the Kempff transcription is available in: Johann Sebastian Bach, Wilhelm Kempff Bach Transcriptions for Piano (Berlin, Bote & Bock, 1998). 2 Author unknown, “Nemerovsky,” in Muzykal’nyy slovar’ Rimana [Music dictionary of Riman], ed. G. Riman, and Yu. Engel (Moscow, 1904). Accessed 27 March 2019, https://riemann_music_dictionary.academic.ru/4999/НЕМЕРОВСКИЙ; Lev Polyakov, “Den’ Pamyati” [Day of Memory], Muzykal’noye prosvescheniye 1 (2007), 27-38. 3 Robert L. Marshall, The Music of Johann Sebastian Bach: The Sources, the Style, the Significance (New York, Schirmer Books, 1989): 224-5.

123 left hand. This does not eliminate the possibility of viewing any one of the parts as a compound melody; however, the notation of the parts does provide relative specificity regarding the performance medium, as the instruments expected are more or less specific.4

The contrast between the top voice and the lower two voices is partially created by the inherent timbral contrast.5 When transferred to the piano, this inherent timbral difference is eliminated, thus allowing the analyst-performer to prefer a more homogenous perception of the texture. In this case, the timbral factor has changed, but remains specific. It is even more specific than in the original score, as there is one instrument involved and the variety of pianos on which the transcription can potentially be played is less than the ambit of possible combinations of flutes/recorders and harpsichords/other keyboard instruments on which the original might be performed. Despite the more limited timbral variety, when analysing the relative functional roles of each linear entity of the transcription the analyst-performer may be influenced by their knowledge of the original instrumentation, which could result in the higher melodic line being more prominent and timbrally distinct from the rest of the texture, even within the limited timbres available on the piano. The role of timbral imitation of other instruments on piano has been stressed by many performer-pedagogues such as Heinrich

Neuhaus and Boris Berman.6 As will be seen in the discussion below these pianists were not alone in aiming to replicate the timbral colours of various other instruments and the voice at the piano. While it may not seem significant to the analyst-performer, for whom the higher voice would in a context such as this usually be perceived as primary irrespective of its original timbre, this issue would become more important when analysing the remaining

4 At least specific by Baroque ‘standards’. 5 Due to the instrumentation. 6 Heinrich Neuhaus, Ob iskusstve fortepyannoy igry [On the art of piano playing] (Moscow: Deka-VS, 2007), 76; Boris Berman, Notes from the Pianist’s Bench (New Haven: Yale University Press, 2000), 22-23.

124 voices, where judgement of the relative importance of voices, their roles and their degree of interdependence is rendered more ambiguous.

Timbre is important in highlighting the components of potential compound melodies, treating cases of doubling as individual strands or not, and having an impact on the overall rhythmic result due to the ability of different instruments to sustain notes in different ways.

For example, in Belov’s transcription, if the lines which I have indicated in different colours in Figure 8.1 (b) below are viewed with differing timbres in mind, this would give greater contrast between the voices because the colour difference will also bring attention to the heightened rhythmic contrast the transcription displays.

Fig. 8.1 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 9- 10.7

Fig. 8.1 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 9-10.8

On the testimony of his students Belov himself is said to have valued timbral finesse and refinement of sound quality. Lev Polyakov remembers his teacher’s love for “tender-

7 Johann Sebastian Bach, Bach-Gesellschaft Ausgabe, Band 9 (Leipzig: Breitkopf und Härtel, 1860), 26. 8 Johann Sebastian Bach, Sitsyliana i Allemanda [Sicilienne and Allemande], arranged by Vladimir Belov (Moscow: Muzgiz, 1952), 4.

125 iridiscent colours”.9 He reminisces that during their work on the Bach-Busoni chorale prelude

Ich ruf’ zu dir, Herr Jesu Christ BWV 639 they tried to achieve an ‘organ-like saturation of the sound’s timbre’, while in Bach’s Partita No. 2 the aim was to achieve the sound of a whole group of historical instruments. Similarly, in working on Sergey Prokofiev’s Sonata

No 4, especially its Andante, they tried to capture the sound of the string and wind sections of a symphony orchestra.10 Belov also valued individuality of sound; he is quoted as having said that the ‘sphere and palette of sound needs to be different for each performer’.11 He also appreciated individuality in the broader musical sense, saying that ‘individuality can be seen more and more rarely, whereas this is a thing which is valuable in itself and its substitution in our area is impossible’.12 Linking performance to Konstantin Stanislavsky’s theatre methods,

Belov claimed that “in essence, performance combines, figuratively speaking, the musical functions of a producer and an actor, close to Stanislavsky’s formula of ‘the art of representation’ and ‘the art of experience’.”13 Knowledge of Belov’s points of view may influence both the performance and the analytical processes. When analysing the texture of the transcription, tone colours of various instrumentations are imagined by the analyst, and knowledge of Belov’s attitude to instrumentation may have the capacity to be transferred into performance-analysis of the transcription, consequently having the capacity to alter the resulting textural judgements.

Dynamic variation is closely linked to timbral colour. As can be seen in the original there are no dynamic markings, leaving a myriad of opportunities for individual interpretation. While it could be argued that the treatment of dynamics within each strand of the original texture is greatly influenced by factors such as prior listening experience,

9 Lev Polyakov, “Den’ Pamyati” [Day of Memory], Muzykal’noye prosvescheniye 1 (2007): 37. 10 Polyakov, “Den’ Pamyati,” 37. 11 Polyakov, “Den’ Pamyati,” 36. 12 Polyakov, “Den’ Pamyati,” 36. 13 Polyakov, “Den’ Pamyati,” 36.

126 technicalities (such as the flautist’s breathing), instrument limitations (such as the harpsichord’s limited potential for dynamic control of the note once it has been taken14), acoustics and other inherent influences, the fact that the score does not specify even relative dynamic markings still implies that the original score is less specific than the transcriptions.

These dynamic markings and their realisations have important implications for the analysis of the polyphonic texture. Firstly, marking different layers of a score with different dynamics gives them more active contrast and arguably more independence due to their differences, while imposing or confirming a hierarchy between the voices, often resulting in the softer voice being subservient to the louder. Nemerovsky’s transcription uses this in the excerpt below:

Fig. 8.2 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 26-29.15

Fig. 8.2 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 26-29.16

14 On a harpsichord the potentially illusionary dynamic effects could be created by controlling the way a note is released compared to the other notes sounding simultaneously, and to those prior and before it (for example by techniques such as selective over-legato). On a piano the dynamic effects could be altered by the manner of releasing a note, but also by pedalling. 15 Bach, Bach-Gesellschaft Ausgabe, Band 9, 27. 16 Bach, Johann Sebastian. Izbrannyye proizvedeniya [Selected works], vol. 1. ed. Leonid Royzman (Moscow: Muzyka, 1968), 52.

127

The marking pp reinforces the perception of this figure as being an imitative response to the mf motif heard on the first beat. The fact that the pp marking is written below the stave also implies that the marking would also apply to the bass note, thus limiting the contrast to one between pairs of voices (and consequently reducing the independence of the two voices within each pair).17 Contrasting dynamic markings are also utilised, even simultaneously, such as in the case below (Figure 8.3 (b)):

Fig. 8.3 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 23-24.18

Fig. 8.3 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 23-24.19

This case of a long-term foreground melody with other notes playing a background function might lead one to understand this piece as being more homophonically conceived on the spectrum between homophony and polyphony, despite the addition of contrapuntally active, relatively dense countermelodies. This is an interesting phenomenon, as even in a strictly contrapuntal fugue, bringing out the fugal subject gives momentary pseudo-homophonic

17 While the placement of dynamic markings could potentially be determined by the editor or the typist, rather than Belov himself, this question is not of primary importance due to the purpose of this study in applying analytical methods rather than making conclusions about the specific transcriber’s style. 18 Bach, Bach-Gesellschaft Ausgabe, Band 9, 27. 19 Bach, Sitsyliana i Allemanda, 5.

128 prominence to this voice. If one was to extend the use of contrasting simultaneous dynamics to passages in which doubling occurs, it would be one of the more crucial factors affecting whether the doubled parts are conceived of more as independent or as mutually dependent lines.

Unspecified dynamics leave the analyst-performer greater freedom in making their interpretations. In the excerpt from Belov’s transcription shown in Figure 8.4 (b), the variety of balance and ‘voicing’ gradations that are possible leave open the possibility of interpreting the highlighted motifs as either more or less interconnected, and more or less important in the overall texture depending on which dynamic is chosen for all the lines present.

Fig. 8.4 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 15-16.20

Fig. 8.4 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 15-16.21

The fact that the above example in Figure 8.4 (b) is a transcription could also have its effect on how the above motifs are dynamically and theoretically interpreted. The specified

20 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 21 Bach, Sitsyliana i Allemanda, 4.

129 dynamics could allow the indicated fragments to ‘showcase’ the realisation of a compound melody from the original score. Or, on the other hand, an interpreter could aim to dynamically downplay any alterations as elaborations, preferring to highlight the framework of the original. Thus, the decisions of the analyst about what role to assign these fragments will also be influenced by their knowledge of the original work and their preconceptions regarding freedom of interpretation.

Furthermore, gradual dynamic changes can also impact on perceptions of polyphony.

Placement of the markings on the printed score once again stabilises one aspect of the musical totality compared to the original. In the example in Figure 8.5 (b) below,

Nemerovsky’s placement of the cresc. marking below the bass line indirectly specifies greater tension with the upper voice (the upper voice will be following a diminuendo from the F# to the D to close off the phrase). Combined with the tension created by the contrary motion between these two parts, the cresc/dim duality will strengthen the sense of polyphonic activity in this excerpt. A similar effect is achieved by the specified diminuendo ‘hairpin’ adding to the tension implied by the melodic direction in the top voice.

Fig. 8.5 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars

19-21.22

22 Bach, Bach-Gesellschaft Ausgabe, Band 9, 27.

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Fig. 8.5 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-21.23

Non-correlation of phrase beginnings and endings has been identified as an important feature of polyphonically active textures. These phrase shapes are often achieved by means of using dynamics. While it is of course natural that dynamic markings may also be ambiguous and are at times historically questionable regarding their exact implications, the fact that they are present in the score acts as yet another way of limiting the number of possible ways in which the score is likely to be interpreted, thus providing more specifications than the original regarding the final textural result. While the possibility exists that when the original was notated, traditions such as dynamics were either assumed or not as strictly ‘cared about’, these parameters must be considered when analysing the texture of the original as any sound exists with a dynamic.

Similarly, when a dynamic gradation is specified, but it is not clear which layer/s of the musical text it refers to, more possibilities are opened for textural exploration. In Belov’s transcription, the resulting texture of bar 5 shown in Figure 8.6 (b) will depend on whether the cresc. marking will be applied to only the top voice, to a number of voices, or to all voices, and in what proportion. Belov’s transcription has complexified the original score in a number of ways, including concealing the bass line by merging it with an added line, and

23 Bach, Izbrannyye proizvedeniya, 52.

131 essentially altering it with a syncopated added ‘E’ on the second quaver beat, by adding a chromatic motif intervallically dissonant with the preexisting notes, which results in an overall more complex rhythmic correlation. This means that the cresc. addition does not necessarily create a more specific textural result than in the original, as the existence of all of the above complexities leaves many possibilities of interpretation. Nevertheless, the addition of the cresc. does make one dimension of the music more specific than if it had not been there.

Fig. 8.6 (a). Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bar 5.24

Fig. 8.6 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bar 5.25

The analyst-performer’s choice of dynamics within individual lines, including variation from note to note, can be influenced by their knowledge of certain musicological theories. For example, an acknowledgement of Belov’s interest in the concept of intonation, or inflection, may result in the analyst-performer exaggerating certain dynamic fluctuations (amongst other characteristics) in a melodic line.26

24 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 25 Bach, Sitsyliana i Allemanda, 3. 26 Polyakov, Lev. “Den’ Pamyati” [Day of Memory]. Muzykal’noye prosvescheniye [Musical enlightenment] 1 (2007): 36.; Intonatsyya or ‘intonation’ is a concept explored in depth by Boris Asafiev. Intonatsyya is an

132

Articulation can also carry important implications for the textural result and its analysis. Together with the alteration of the note length, tenuto signs have been used to indicate the transcriber’s preferred perception of specific melodic anchor-notes, in the same way that a compound melody would be realised. Both Belov and Nemerovsky utilise tenuto signs in similar places, as seen in the examples below, allowing the grouping of the bass notes with tenuto signs into a horizontal entity.

Fig. 8.7 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22.27

Fig. 8.7 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22.28

elusive term which can simplistically be summarised as the concept of the total resulting dynamic motion/direction of a melody studied including its intervallic, dynamic and tonal tensions (Asafiev, Muzykal’naya forma kak protsess, 6). 27 Bach, Bach-Gesellschaft Ausgabe, Band 9, 27. 28 Bach, Sitsyliana i Allemanda, 5.

133

Fig. 8.7 (c). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-22.29

Tenuto markings may also impact doubling interpretation. Regarding Nemerovsky’s tenuto markings shown in Figure 8.8 (b), they could be applied to both the upper and lower note of the octave, giving more support for this doubling to be perceived solely as a strengthening of the same voice. In this specific case this is a reading which is uncontradicted by any other elements, and thus is likely to be what the analyst-performer concludes.

Fig. 8.8 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7- 10.30

Fig. 8.8 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7-10.31

29 Bach, Izbrannyye proizvedeniya, 52. 30 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 31 Bach, Izbrannyye proizvedeniya, 51.

134

Furthermore, tenutos can also act as a practical method of maximising the effective duration for which a long note sounds, such as in Belov’s marking ten. on the ‘c5’ in bar 2 (Figure

8.9). This marking can also point to the importance of this note within the surrounding layers, giving it a higher place in the polyphonic hierarchy, and thus indirectly influencing the way that the lower voices are interpreted.

Fig. 8.9 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1- 2.32

Fig. 8.9 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2.33

Articulation was of high importance to Belov as he had revered the art of rhetoric and diction. Belov is quoted as saying “The work on the diction of pronunciation of both each individually taken sound and the musical phrase – is a rather important job. The same thing applies to working on breathing.”34 This again shows that the performance views of

32 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 33 Bach, Sitsyliana i Allemanda, 3. 34 Polyakov, “Den’ Pamyati,” 35.

135 transcribers, and consequently composers play an important role in the theoretical analysis of their music, and knowing these viewpoints may influence the perception of the analyst.

The effective length of notes also depends on Belov’s slurs and sempre legato marking. Various combinations of slurs and legato markings result in greater specified rhythmic layering due to the variation of note-release points. These can be observed in Figure

8.9 (b) exhibited earlier. In Nemerovsky, the fact that the dotted minim is the last note under the slur may result in the effective shortening of the note, as it may be taken with a lighter touch, and might stop sounding quicker:

Fig. 8.10 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2.35

Fig. 8.10 (b). Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 1-2.36

Timbre, dynamics, and note length may all be influenced by seemingly insignificant technicalities such as fingering or hand assignment. In the example in Figure 8.11, the horizontal fluidity of the line may even be influenced by fingering choices with the 1-1 fingering slide used by Nemerovsky (or perhaps the editor) giving more theoretical potential

35 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 36 Bach, Izbrannyye proizvedeniya, 51.

136 for the disruption of the flow of the line. In this specific context, however, this factor seems to be too inaudible to have any significant influence on the resulting texture. The ability to play legato octaves may also influence the textural result, allowing each of the two notes within an octave to sound more independent from each other, and/or from the surrounding notes of their respective lines. An interpretation of this slur as primarily serving a phrasing purpose rather than an articulation one, may also play a role in the effective note lengths.

Fig. 8.11. Bach/Nemerovsky: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 7-10.37

While the use of these techniques is commonplace and expected of any competent pianist, they are still partially compromising to the ideal that may have been extrapolated from the score without the consideration of performative elements. This is an example of the reliance on illusion, with the assumed illusory product often thought of as the objective character of the piece. While there are no records of Nemerovsky’s attitude to fingering, one such account regarding Belov’s position on the topic has been left by Polyakov, who stated that:

Vladimir Sergeevich [Belov] felt really well the individual qualities which each finger possessed. With his skilled, and at times ingenious fingering he had the skill to remove sonic and technical problems. In those years, continuing cooperation with music publishers, Belov made amazingly thought-through editions.”38

37 Bach, Izbrannyye proizvedeniya, 51. 38 Polyakov, 34.

137

This quotation points to how the choice of fingering and the perception of fingers as having different qualities may have a direct effect on the textural result, through strengthening or otherwise of certain notes, resulting in less or greater linear flow.

A similar observation can be made regarding the choice of hands. In the following excerpt from Belov (Figure 8.12 (b)), the assignation of the highlighted intervals to the left hand, in combination with the rest underneath, may result in a splitting of the line, and may

‘undermine’ an attempt to regard the lower semiquaver line here as constituting an individual line, rather than just the occasional doubling. The visual effect of the score is very significant in this case, as the stems, rest, and the indication л. р. [left hand] prompt an instant separation of the material into separate streams.

Fig. 8.12 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 13-14.39

Fig. 8.12 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 13-14.40

39 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 40 Bach, Sitsyliana i Allemanda, 4.

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Hand crossing can be used to add elaborations such as the one below (Figure 8.13), resulting in a complete alteration of the texture from the original, and essentially introducing a temporary melodic voice, which could almost be classified as brief motivic commentary rather than a fully-developed linear entity.

Fig. 8.13 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-20.41

Fig. 8.13 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 19-20.42

When making claims regarding the functions and hierarchy of each voice it is of primary importance to view the issue in the larger context of the piece. For example, while the original is clearly written in three melodic strands, Belov utilises complex additions and rests to indicate the frequent presence of four strands. In such contexts, an octave may not be categorised as an example of doubling in which one of the notes is merely providing volume

41 Bach, Bach-Gesellschaft Ausgabe, Band 9, 27. 42 Bach, Sitsyliana i Allemanda, 5.

139 support to the other note, but instead is sîn as a momentary alignment of two simultaneous longer linear phrases such as in the example in Figure 8.14 (b):

Fig. 8.14 (a). Bach: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 5-8.43

Fig. 8.14 (b). Bach/Belov: Sicilienne from Sonata for Flute and Harpsichord BWV 1031, bars 5-8.44

On the contrary, in Nemerovsky’s transcription, the bass doubling is quite consistent and there are no indications of a fourth voice, and therefore in such a context the octave notes may have more chance of being blended with each other.45

The above analysis demonstrates how score markings can limit the number of factors that go into creating the perception of the resulting texture. Polyphonic tension and complexity can be intensified or reduced by these score markings, and will influence

43 Bach, Bach-Gesellschaft Ausgabe, Band 9, 26. 44 Bach, Sitsyliana i Allemanda, 3. 45 An example of this can be found in bars 5-8 of the work discussed.

140 analytical conclusions. Even if these factors are not specified, the analyst would subconsciously still limit them in one way or another when making their judgement, as no note exists without a dynamic, an articulation, and a duration in time. The knowledge of the transcribers’ attitudes can also influence how analysts and performers perceive these markings or lack thereof. The fact that many performers’ treatises engage with some of these practical performance issues proves how useful it is to incorporate these into the theoretical categorisation of textural and more specifically, polyphonic, parameters.

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Conclusions

The analyses of polyphonic textures within Bach transcriptions demonstrate the necessity of acknowledging a variety of performative factors influencing the resulting polyphonic texture. Texture should be viewed as a result of the presence and interaction of many factors which exist in addition to, or despite what is prescribed in the notated score.

These factors include the tone colour, dynamics, note-duration realisations, accentuation, intensity, pitch alteration, and instrument-specific limitations. If one of the contributing factors changes, other factors may also be altered as a result. Naturally, depending on the character of each of these factors (and the above list is far from exhaustive), the textural result will be different. This does not negate the importance of the score, as after all it does provide the main limitations for the possibilities of realisation. However, if the score’s textural aspects were to be analysed solely from a graphical perspective, without acknowledging the extra factors, the resulting analytical conclusions would actually still take these factors tacitly into account, since even if not identified, they would be constantly present to some degree.

While this study focused on the textural aspects of polyphony other analyses of polyphony in a work frequently imply a ‘mathematically-inclined’ contrapuntal analysis. This often includes the production of a voice-leading reduction, and the discovery of ‘underlying counterpoint’, especially in works with a greater number of notes present per unit time.

Although much intervallic quantification can be conducted solely from the written notes, the selection of the notes to be kept in the reduction will be influenced largely by factors other than the written pitches themselves. Moving to the topic explored by this study, the assignation of roles to notes, such as naming them passing tones or chordal tones, also depends on factors that are beyond the score such as fluctuation of dynamics and their level,

142 overholding of notes, and so on. In the context of the Russian/Soviet non-Schenkerian analysis, intervallic tension between and thematic significance of the contrapuntal lines are also largely dependent on aspects such as note values and timbre. Thematic relationships between voices, such as the presence of imitation and the resulting canonic intensity levels also form a large part of polyphonic analysis. These features can largely be defined by the printed score pitches themselves; however their presence and the degree of polyphonic intensity they give rise to can possibly be highlighted or downplayed by utilising additional factors in specific ways. Furthermore, the choice to realise contour similarities or hidden melodic ‘principal notes’ which have links to the theme can be supplemented by using these additional factors. However, though the relative prominence of one strand compared with another in a texture might change, the thematic relationships are more likely to remain the same even if the extra-notational factors are altered.1

The ‘degree of polyphonic activity’ in a work often relies on elements partially governed by aural perception. One such example is dissonance, the presence of which can influence the amount of tension between or within lines, keeping polyphony within a dialectic equilibrium of contrast and unity. The aural responses (or levels of dissonance) can be altered by those very same factors which go beyond pitch specification.2

The question of the number of voices present in a piano texture often permits more than a single answer. The possibility of adjusting the approach to the performance of certain notes by changing some factors can result in the appearance of additional realised compound lines which otherwise would be inactive. It has been a primary contention in this study that even if an analyst does not overtly involve themselves with the realisation of these additional

1 Although, extra-notational factors influence inferred polyphony realisations, which can alter thematic classification. 2 An initial thought regarding dissonance might be that it is inherent within the type of interval; however even these pre-learned classifications may collapse depending on context and listener-analyst experience and background.

143 levels of complexities, they are still engaging with these additional factors. If the analyst hears the line not as a compound but as a single-strand melody, he or she is again making a textural determination, only in this case to downplay the potential presence of this additional voice. Issues such as the role of doubling are also dependent both on the score itself, on its realisation and on how it is perceived.

Rhythmic stratification is also an important feature of polyphony. For this, notation is initially important in defining approximate boundaries within which textural perceptions will lie; however it is often un-notated factors such as performance-practice influenced displacement, rubato, chord rolling, instrumental limitations, technical considerations, and acoustics that will also play a crucial role in the perception of the lines as polyphonically independent/interdependent.

Aspects such as voicing intentions can also influence the resulting interlinear rhythmic contrast by limiting tension with more ‘background’ voices, and also by shifting the excerpt towards homophony on the homophony/polyphony spectrum due to bestowing unrivalled prominence on a single line.

One of the more descriptive features often associated with polyphonic textures is the degree of density. I argue that increased density and contrast correlates with an increase of the degree of polyphonic activity, until a certain ‘saturation point’ is reached at which the constituent lines stop being perceived as having a high degree, or indeed any degree of independence. If observed only from the score, this saturation point has the possibility to occur later than from aural interpretation of the same segment (it may be easier to view the contrasts between linear entities represented on paper, whereas in performance they start to merge at lower levels of simultaneous activity, especially when there is little timbral differentiation). This may indicate that a score-centric analysis assigns unrealistic

144 characteristics to the un-notated factors, for instance, assuming that certain notes will sound distinctively even when they will surely blur, and thus drawing conclusions about an unrealistic imagined texture.

These factors which exceed the pitch-duration indications of a score may be partially limited by means of score markings indicating dynamics, accents, articulations, expressive techniques, and tempo alterations. The presence of these indications can greatly influence the analytical result. What was learned from analysing transcriptions of works of J. S. Bach was that the addition of score markings may limit possibilities of realisation chosen more than was the case with the Bach originals which did not have the extra specifications. While this may seem an obvious point, it demonstrated how even small markings can prompt a different texture.3 The transcriptions can therefore be thought of as instances of recording more specific limitations for some factors. While the same can be said regarding different editions, the benefit of analysing transcriptions is that many of these works have alterations far greater than those present in editions. Furthermore, various editions are still considered to be the same work, whereas transcriptions are frequently viewed as separate entities from the original.4 Importantly, the fact that the transcriptions can be viewed as both a derivative of the original work and as separate artistic entities, allows them to be treated both as limiting the way the various factors are used, but also as having the various potential number of analytical-performance possibilities for realisation if considered a self-standing work.

If a score does not have many specifications apart from the given notes, while the possibilities of realisation may seem endless, in practice the absence of limiting markings may result in a limitation passed through tradition. For example, many analysts and

3 However, these markings in turn allow extrapolation to the many variants in which they will be interpreted, still resulting the many variations of texture that can be created. 4 The addition or deletion of pitch materials serves to record the transcriber’s analytical thought more concretely in regards to certain aspects of polyphony such as realisation of compound melodies.

145 performers may be more likely to interpret a line with no dynamic marking as having a static dynamic throughout. These implications, while not covered in detail in this study, have potential for further exploration of the influence of performance-practice movements and external expectations, on the preferences for realisation of notated and un-notated specific factors.

It is therefore of primary importance to acknowledge that score-derived theoretical classifications of a work’s texture are in many respects largely a result of a ‘performance’ of the work by the analyst. This performance can range from a real-life performance to a subconscious internal hearing. As a score cannot be absolutely prescriptive, rather serving as a symbolic representation, there are always factors that are left for the interpreter to realise.

Thus, as a work cannot have a texture without these factors, and if these factors are not specified in the score, it is useful to acknowledge the role of the interpretation in an analysis.

In this study I have used the term analyst-performer, highlighting that every act of polyphonic analysis is at least partially an act of performance.

These viewpoints have the capacity to resolve multiple issues which have historically caused disagreement in musical analysis. Acknowledging the role of forehearing by the analyst allows for a comfortable middle ground which does not unrealistically idealise the written score, yet does not promote the necessity of analysing existing performances to dictate analytical conclusions. Furthermore, this approach allows various interpretations of the same score to ‘exist in peace’ with each other. It also allows performers to learn from and utilise analysis, without finding it a prescriptive approach, seeing it as a creative process just as their own performance is. The analyst-performer’s knowledge of analyses conducted previously (by others or the analyst-performer themselves) no doubt also influences the choice of factor specifications applied. Similarly, theoretical analysts benefit from being aware of aspects discussed in books dedicated to the art of piano performance.

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The observations in this thesis help in the task of distinguishing between the more objective and the subjective aspects which influence a textural, and more specifically a polyphonic analysis. Accepting this point of view allows one to benefit from various stylistic analyses too, without feeling the necessity to criticise them for excess subjectivity.

The approach followed in this thesis can lead to developing more factor-aware methods of analysing and understanding polyphonic techniques, and applying them to a variety of original scores, rather than transcriptions. These analyses would not have to be prescriptive, but rather exploratory of the various methods of textural creation. The influences of stylistic, social and pedagogical trends on resulting textures can also be studied.

Specifically, the study of any potential correlation of preferences for factors (dynamic choice, articulation choice etc) in original music termed as or associated with being ‘polyphonic’ and the choices made in interpretation of J. S. Bach’s music in performance, transcriptions, editions and analyses would be of interest.

Finally, the category of works engaged with in this study have provided an opportunity for the re-discovery of lesser-known musicians, bringing to light their contributions, and listing selected biographical facts. This benefits both performing musicians and listeners as it may prompt the inclusion of these works in more concert programs or recordings, as well as facilitating research of other works produced by these transcribers.

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Appendix. Transcription list, transcriber biographies, and publication information.

This catalogue includes piano transcriptions of works of J. S. Bach by musicians from the Russian Empire, Russian Republic, RSFSR, USSR, the former-USSR states, and those musicians in the artistic careers of whom the Russian/Soviet piano school played an important role. No political implications are intended with the inclusion of any musicians currently active in any of the states which were formerly part of the USSR who had created their transcriptions after the fall of the USSR; the inclusion was prompted by the desire to make this compilation as comprehensive as possible, and including those musicians whose careers were associated with the former USSR.

When compiling this catalogue of works and biographies a crucial online source to prompt further research has been the Bach Cantatas website which is largely contributed to by Aryeh Oron (accessed 28 March 2019 http://www.bach-cantatas.com). A preliminary list of Russian/Soviet Bach transcriptions was presented as part of my Honours thesis (Sydney

Conservatorium of Music, 2014). In the current list I strive to expand on the catalogue, providing more detailed and accurate information, and showing at least one publication of each transcription, and if that is not possible, referring to audio recordings or if need be, online sources in which these transcriptions are mentioned. While it was not possible to verify the information presented in some of these online sources, these transcriptions are still included here in order to prompt potential further research. The transcriptions the scores of which have been analysed in the process of preparing this dissertation are marked with an asterix (*). In some cases, library references of a score are provided as this may be useful to future researchers. The works included are primarily transcriptions for piano solo, however in cases where transcriptions for piano duos or including piano as an ensemble instrument played an important role in the process of the theoretical analysis it is still included in the list.

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There have however been other transcriptions for ensembles with piano that are not included in the list as conducting a comprehensive search on these was beyond the scope of this work.

The list does not claim to be complete and exhaustive, and is a record of the works and transcribers evidence of which and whom I have gathered up to this point.

This list also provides biographical summaries for those transcribers who have not received much attention either in English or Russian scholarship. The aim of providing this biographical information is to make information about these musicians accessible for further studies. In a number of these potted biographies the text heavily relies on the information presented in original Russian summaries; to avoid distortions of facts there are a number of cases in which close translations or paraphrases of the information from the quoted source are provided. For transcribers such as Rachmaninov, Kabalevsky and Siloti, no biographical information is provided as these facts are readily available in English-language sources.

Researching more detailed biographical aspects or scrutinising the validity of the information presented in the sources is beyond the scope of this study. As with the transcription identification, in cases where no print publications have been found providing the biographical information about some of the transcribers, an online source is referenced.

The dates indicated are those found in available sources; however if both dates in the

Julian calendar and the Gregorian calendar are given, the Gregorian calendar is the one provided here. If only one date is given it is quoted as provided.

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Vladimir Sergeevich Belov (26 July 1906, Kirzhach - 22 February 1989, Moscow)

Russian/Soviet pianist and pedagogue. Belov’s teachers included E. M. Savyolova (student of A. Yesipova) at the Simbirsk College of Music, S. A. Kozlovsky at the Moscow Conservatory (from 1922), and F. M. Blumenfeld (also at the Moscow Conservatory, 1924-1929). During his conservatory years Belov worked as an accompanist in the classes of S. M. Kozolupov and others. Although Belov was a soloist at the Moscow Philharmony from 1928 to 1938, later in life Belov did not continue his solo career. After graduating he became an assistant of Blumenfeld and then of H. G. Neuhaus at the Moscow Conservatory. In 1935 he became an associate professor. He also taught at the Music College affiliated with the Conservatory, and at the Kiev Conservatory (1970-1971). Belov’s students include S. Neuhaus, A. Baltin and E. Denisov. Belov produced a number of transcriptions, including of works J. S. Bach, F. Chopin, S. Rachmaninov, and Yu. Shaporin.

Sources: Lev Polyakov, “Den’ Pamyati” [Day of Memory], Muzykal’noye prosvescheniye 1 (2007): 27-38; Natalya Mironova, Moskovskaya konservatoriya: Ot istokov do nashyh dney. 1866-2003. [Moscow Conservatory: From the beginnings to our days. 1866-2003] (Moscow: Progress-Traditsyya, 2005), 55; Alla Vladimirovna Grigor’yeva, “Baltin, Alexander Aleksandrovich,” Grove Music Online, 20 January 2001, accessed 18 March 2019, https://doi.org/10.1093/gmo/9781561592630.article.45552.

Transcription Publication records/information on where mention of work was found

Allemande from Partita for Bach, Johann Sebastian. Sitsyliana i Allemanda [Sicilienne solo flute in A minor, BWV and Allemande], arranged by Vladimir Belov. Moscow: 1013* Muzgiz, 1952.

Sicilienne from Flute Sonata Bach, Johann Sebastian. Sitsyliana i Allemanda [Sicilienne No. 2, BWV 1031* and Allemande], arranged by Vladimir Belov. Moscow: Muzgiz, 1952.

Boris Borisovich Borodin (born 1951)

Borodin is a Russian pianist and musicologist. He heads the History and Theory of Performing Art department at the Ural Mussorgsky State Conservatory, where he is also a professor of piano. Borodin is a member of the Composers’ Union of Russia and is an author of many piano transcriptions of several works of J. S. Bach, C. Debussy, G. Mahler, J. Offenbach, S. Rachmaninov, R. Strauss, N. A. Rimsky-Korsakov, C. Saint-Saëns, and R. Schumann. Borodin holds a Doctorate in Arts and has written numerous books, including one on the analysis of piano transcriptions. Source: Boris Borisovich Borodin, Kontsertnyye obrabotki dlya fortepiano proizvedeniy I. S. Baha, V. A. Motsarta, G. Malera, R. Shtrausa, S. V. Rahmaninova, K. Debyussi, J. Offenbaha. Shedevry fortepiannoy transkriptsyi. Vypusk 27 [Concert arrangements for piano of works of J. S. Bach, W. A. Mozart, G. Mahler, R. Strauss, S. V. Rachmaninov, C. Debussy, J. Offenbach. Masterpieces of the piano transcription. Volume 27] (Moscow: Deka-VS, 2018), 67.

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Transcription Publication records/information on where mention of work was found

Crucifixus and Et incarnatus Borodin, Boris Borisovich. Kontsertnyye obrabotki dlya from Mass in B minor BWV fortepiano proizvedeniy I. S. Baha, V. A. Motsarta, G. 232* Malera, R. Shtrausa, S. V. Rahmaninova, K. Debyussi, J. Offenbaha. Shedevry fortepiannoy transkriptsyi. Vypusk 27 [Concert arrangements for piano of works of J. S. Bach, W. A. Mozart, G. Mahler, R. Strauss, S. V. Rachmaninov, C. Debussy, J. Offenbach. Masterpieces of the piano transcription. Volume 27]. Moscow: Deka-VS, 2018.

Issaya Aleksandrovich Braudo (9 August 1896, Boyarka - 11 March 1970, Leningrad)

Braudo was a crucial figure in the Leningrad organ school. His early teachers include S. Maykapar, A. Strahova (A. Siloti’s student and assistant), N. Ilyenkovsky (A. Glazunov’s teacher), and P. Romanovsky (A. Yesipova’s student). In 1914 he commenced studying at the Petrograd Conservatory where his teachers included M. Barinova (piano) and Ya. Gandshin (organ). In 1915-1918 he studied at the Moscow Conservatory (with A. Goldenweiser) as well as studying medicine and philosophy. In 1919 he took lessons from F. Blumenfeld in Kiev, then studied mathematics in Odessa. Subsequently he returned to Leningrad to study organ with Gandshin, and piano with I. Miklashevskaya. Braudo graduated from the Leningrad Conservatory in 1923 under the tutelage of N. Vanadzin. In 1924 and 1926 he took lessons in Paris and in Germany respectively, studying with L. Vierne and many other organists. Braudo was a respected pedagogue. From 1923 onwards he taught organ and piano at the Leningrad Conservatory. His organ students included N. Oksentyan. Braudo was an active member of the Bach Circle organised by B. Asafiev, and published a number of analyses of works of Bach and polyphonic works. The author of several theoretical works, Braudo’s principal treatise is ‘Articulation’. For this, in 1965 he was awarded a Doctor of Arts. During the Great Patriotic War (the WWII 1941-1945 segment involving the Soviet Union) Braudo was evacuated from Leningrad to Perm. Braudo made recordings of a number of organ works. His communication with composers inspired organ compositions by M. A. Yudin, Yu. N. Tyulin, and H. S. Kushnaryov.

Source: Lyudmila Kovnatskaya, “Artist, pedagog, uchyonyy” [Artist, pedagogue, scholar], in Ob organnoy i klavirnoy muzyke [About organ and keyboard music], ed. Isaya Braudo. (Leningrad: Muzyka, 1976): 3-12.

Transcription Publication records/information on where mention of work was found

Recitative from Concerto No. Braudo, Isayya Aleksandrovich. Shest’ polifonicheskih pyes 3 in C major (after A. Vivaldi), Bukstehude, Baha i Vyerna [Six BWV 594* polyphonic pieces of Buxtehude, Bach and Vierne]. Leningrad: Triton, 1927.

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Chorale Prelude Alle Braudo, Isayya Aleksandrovich. Shest’ polifonicheskih pyes Menschen müssen sterben (I), Bukstehude, Baha i Vyerna [Six polyphonic peces of BWV 643* Buxtehude, Bach and Vierne]. Leningrad: Triton, 1927.

Stanislav Stanislavovich Bunin (born 25 September 1966, Moscow)

After graduating from the Central Music School of the Moscow Conservatory, from 1984- 1988 Bunin studied at the Moscow Conservatory with S. Dorensky. In 1983 Bunin won the first prize and three special prizes at the Long-Thibaud competition in Paris. In 1985 Bunin gave a critically-acclaimed solo piano recital in Moscow of works of F. Chopin (Sonata in B minor, preludes, scherzo, mazurkas). In the 1985 Frederic Chopin Competition in Warsaw he won the first prize and many special prizes (including the Chopin Society prize for the best performance of a polonaise, and the prize of the National Philharmony for the best interpretation of a concerto). In 1988 Bunin emigrated from the Soviet Union, first to Germany and then to Japan. Between 1991 and 1997 Bunin taught at the Senzoku Gakuen Music College in Kawasaki. He has made recordings for Deutsche Grammophon, Sony, Toshiba/EMI. Bunin is a grandson of H. Neuhaus.

Sources: Lev Grigoryevich Grigoryev, and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 63-64.; The Fryderik Chopin Institute, accessed 25 March 2019, http://en.chopin.nifc.pl/chopin/persons/detail/id/1305

Transcription Publication records/information on where mention of work was found

Largo [‘Arioso’] from Audio CD: The most relaxing Bach album in the Concerto No.5 in F minor, world...ever! Capitol Records, 2006. ASIN B002B76AIQ. BWV 1056

Georgy L’vovich Catoire/Katuar (27 April 1861, Moscow - 21 May 1926, Moscow)

Katuar was of French heritage. He graduated from the mathematics department of Moscow University; however he had always had an interest in music and took lessons from K. Klindworth. Katuar received positive commentary on his compositions from P. I. Tchaikovsky after which he moved to Petersburg where he briefly took lessons from N. A. Rimsky- Korsakov and A. Lyadov. From 1917 to 1926 Katuar was a professor at the Moscow Conservatory. At this institution and at the Scriabin Music College, he taught form and harmony. He wrote a number of theoretical treatises. Katuar’s students include D. Kabalevsky. As mentioned in Goldenweiser’s memoir, he (Goldenweiser) was the person who most often performed Katuar’s compositions, and that the composer dedicated his piano concerto (composed 1911), piano quintet, piano quartet, trio and two violin sonatas to him.

Sources: Alexander Borisovich Goldenweiser, “Vospominaniya o G. L. Katuare” [Remeniscences about G. L. Katuar], in O muzykal’nom iskusstve [About musical art] (Moscow: Muzyka, 1975), 190-196; Georgy Katuar,

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Muzykal’naya Forma, ed. Dmitry Kabalevsky, L. Mazel’, L. Polovinkin, Moscow: Gosudarstvennoye Muzykal’noe Izdatel’stvo, 1937; “Katuar Georgiy L’vovich,” in Bolshaya Sovetskaya Entsyklopediya [Great Soviet Encyclopedia], 3rd edition, ed. A. M. Prohorov (Moscow: Sovetskaya Entsyklopediya, 1969).

Transcription Publication records/information on where mention of work was found

Passacaglia in C minor, BWV Catoire, Georgy. Passacaglia pour orgue par J. S. Bach. 582* Transcription de Concert pour Piano à 2 mains. Moscow: Jurgenson, 1889.

Ivan Karlovich Cherlitsky/Tscherlitzky (20 November 1798, Kazan - 6 June 1865, St Petersburg)

Cherlitsky was a St Petersburg organist, pianist and composer. His compositional output included symphonies, overtures, quartets, trios, solo piano works (including piano variations on Russian folk songs), and a piano concerto. He also arranged many works of his contemporaries (for example F. Mendelssohn) for piano and piano four hands. The first set of Cherlitsky’s transcriptions of Bach’s organ works for piano was published in St Petersburg in 1844-45. It was dedicated to Grigory Stroganov. The second set of Bach transcriptions was dedicated to Mikhail Viyel’gorsky. The third and last set was dedicated to Appolinariya Venevitina. In total Cherlitsky made transcriptions of over 35 major organ works and 50 chorale preludes. The editorial preface to the transcriptions stated that he enjoyed “well-earned fame as a composer and virtuoso pianist”. A. N. Serov and perhaps V. F. Odoevsky had viewed Cherlitsky’s work positively. In 1852 Cherlitsky also published the “Musical manual for artists and lovers of music”. In 1819-1822 he held a series of organ concerts in St Petersburg, presenting Bach’s works.

Sources: Leonid Royzman, Organ v istorii russkoy muzykal’noy kul’tury [Organ in the history of Russian musical culture] (Moscow: Muzyka, 1977), 196; Leonid Royzman, “Nezasluzhenno zabytyy muzykant” [Undeservingly forgotten musician], Sovetskoye iskusstvo 41 (1951): 4.

Transcription Publication records/information on where mention of work was found

Chorale from Motet Ich lasse Publisher mentioned as Menestrel on http://www.bach- Dich Nicht, Du segnest mich cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March denn BWV Anh 159 2019.

Chorale (Mvt. 1) from Motet Publisher mentioned as Menestrel on http://www.bach- Jesu, meine Freude BWV 227 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in C major Publisher mentioned as Menestrel on http://www.bach- BWV 531 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

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Prelude and Fugue in D major Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, BWV 532* Sbornik organnyh pyes [Compilation of organ pieces]. Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Prelude and Fugue in E minor Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, BWV 533* Sbornik organnyh pyes [Compilation of organ pieces]. Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Prelude and Fugue in F minor Publisher mentioned as Menestrel on http://www.bach- BWV 534 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in G minor Publisher mentioned as Menestrel on http://www.bach- BWV 535 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in A major Publisher mentioned as Menestrel on http://www.bach- BWV 536 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in C minor Publisher mentioned as Menestrel on http://www.bach- BWV 537 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Toccata in D minor BWV 538 Publisher mentioned as Menestrel on http://www.bach- cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in D minor Publisher mentioned as Menestrel on http://www.bach- BWV 539 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Toccata in F major BWV 540 Publisher mentioned as Menestrel on http://www.bach- cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in G major Publisher mentioned as Menestrel on http://www.bach- BWV 541 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Fantasia and Fugue in G minor Publisher mentioned as Menestrel on http://www.bach- BWV 542 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

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Prelude and Fugue in A minor Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, BWV 543* Sbornik organnyh pyes [Compilation of organ pieces]. Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Prelude and Fugue in B minor Publisher mentioned as Menestrel on http://www.bach- BWV 544 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in C major Publisher mentioned as Menestrel on http://www.bach- BWV 545 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in C minor Publisher mentioned as Menestrel on http://www.bach- BWV 546 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in C major Publisher mentioned as Menestrel on http://www.bach- BWV 547 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in E minor Publisher mentioned as Menestrel on http://www.bach- BWV 548 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in A minor Publisher mentioned as Menestrel on http://www.bach- BWV 551 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Prelude and Fugue in E flat Publisher mentioned as Menestrel on http://www.bach- major BWV 552 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Fantasia and Fugue in C minor Publisher mentioned as Menestrel on http://www.bach- BWV 562 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Toccata and Fugue in C major Publisher mentioned as Menestrel on http://www.bach- BWV 564 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Toccata in D minor BWV 565 Publisher mentioned as Menestrel on http://www.bach- cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

155

Prelude in A minor BWV 569 Publisher mentioned as Menestrel on http://www.bach- cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Pièce d'orgue (Fantasia) in G Publisher mentioned as Menestrel on http://www.bach- major BWV 572 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Fugue on a theme by Legrenzi Publisher mentioned as Menestrel on http://www.bach- in C minor BWV 574 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Fugue in G minor BWV 578* Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, Sbornik organnyh pyes [Compilation of organ pieces]. Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Fugue on a theme by Corelli in Publisher mentioned as Menestrel on http://www.bach- B minor BWV 579 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Passacaglia in C minor BWV Publisher mentioned as Menestrel on http://www.bach- 582 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Canzona in D minor BWV 588 Publisher mentioned as Menestrel on http://www.bach- cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Herr Christ, Publisher mentioned as Menestrel on http://www.bach- der einig Gottes Sohn (I) BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 601 2019.

Chorale Prelude Das alte Jahr Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, vergangen ist (I) BWV 614* Sbornik organnyh pyes [Compilation of organ pieces]. Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Chorale Prelude Liebster Jesu, Publisher mentioned as Menestrel on http://www.bach- wir sind hier (II) BWV 634 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Wachet auf, Publisher mentioned as Menestrel on http://www.bach- ruft uns die Stimme BWV 645 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

156

Chorale Prelude Wo soll ich Publisher mentioned as Menestrel on http://www.bach- fliehen hin (I) BWV 646 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Wer nur den Publisher mentioned as Menestrel on http://www.bach- lieben Gott lässt walten (II) cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March BWV 647 2019.

Chorale Prelude Meine Seele Publisher mentioned as Menestrel on http://www.bach- erhebet den Herren BWV 648 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Kommst du Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, nun, Jesu, vom Himmel Sbornik organnyh pyes [Compilation of organ pieces]. herunter BWV 650* Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.

Chorale Prelude Allein Gott in Publisher mentioned as Menestrel on http://www.bach- der Höh sei Her BWV 664a cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Kyrie, Gott Publisher mentioned as Menestrel on http://www.bach- Vater in Ewigkeit (I) BWV 669 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Christe, aller Publisher mentioned as Menestrel on http://www.bach- Welt Trost (I) BWV 670 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Kyrie, Gott Publisher mentioned as Menestrel on http://www.bach- heiliger Geist (I) BWV 671 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Kyrie, Gott Publisher mentioned as Menestrel on http://www.bach- Vater in Ewigkeit (II) BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 672 2019.

Chorale Prelude Christe, aller Publisher mentioned as Menestrel on http://www.bach- Welt Trost (II) BWV 673 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Kyrie, Gott Publisher mentioned as Menestrel on http://www.bach- heiliger Geist (II) BWV 674 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

157

Chorale Prelude Allein Gott in Publisher mentioned as Menestrel on http://www.bach- der Höh sei Ehr (V), BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 675 2019.

Chorale Prelude Allein Gott in Publisher mentioned as Menestrel on http://www.bach- der Höh sei Ehr (VI), BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 676 2019.

Chorale Prelude Allein Gott in Publisher mentioned as Menestrel on http://www.bach- der Höh sei her BWV 677 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Dies sind die Publisher mentioned as Menestrel on http://www.bach- heilgen zehn Gebot (II), BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 678 2019.

Chorale Prelude Dies sind die Publisher mentioned as Menestrel on http://www.bach- heilgen zehn Gebot BWV 679 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Wir glauben Publisher mentioned as Menestrel on http://www.bach- all an einen Gott (I) BWV 680 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Wir glauben Publisher mentioned as Menestrel on http://www.bach- all an einen Gott BWV 681 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Vater unser Publisher mentioned as Menestrel on http://www.bach- im Himmelreich (II) BWV 682 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Vater unser Publisher mentioned as Menestrel on http://www.bach- im Himmelreich (III) BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 683 2019.

Chorale Prelude Christ, unser Publisher mentioned as Menestrel on http://www.bach- Herr, zum Jordan kam (I) cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March BWV 684 2019.

Chorale Prelude Aus tiefer Not Publisher mentioned as Menestrel on http://www.bach- schrei ich zu dir (I) BWV 686 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

158

Chorale Prelude Aus tiefer Not Publisher mentioned as Menestrel on http://www.bach- schrei ich zu dir (II) BWV 687 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Jesus Publisher mentioned as Menestrel on http://www.bach- Christus, unser Heiland (VI) cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March BWV 688 2019.

Chorale Prelude Jesus Christus Publisher mentioned as Menestrel on http://www.bach- unser Heiland BWV 689 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 8 March 2019.

Chorale Prelude Wer nur den Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, lieben Gott lässt walten (IV) Sbornik organnyh pyes [Compilation of organ pieces]. BWV 691* Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.; Bach, Johann Sebastian. Izbrannyye proizvedeniya dlya fortepiano [Selected works for piano], ed. L. Royzman, vol. 1. Moscow: Muzyka, 1968.

Chorale Prelude Ach Gott und Publisher mentioned as Menestrel on http://www.bach- Herr BWV 692 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Gelobet seist Publisher mentioned as Menestrel on http://www.bach- du, Jesu Christ (II) BWV 697 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Christ, der Publisher mentioned as Menestrel on http://www.bach- einig Gottes Sohn BWV 698 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Nun komm Bach, Johann Sebastian and Ivan Karlovich Cherlitsky, der Heiden Heiland (VI) BWV Sbornik organnyh pyes [Compilation of organ pieces]. 699* Moscow: Gosudarstvennoye Muzykal’noye Izdatel’stvo, 1953.; Bach, Johann Sebastian. Izbrannyye proizvedeniya dlya fortepiano [Selected works for piano], ed. L. Royzman, vol. 1. Moscow: Muzyka, 1968.

Chorale Prelude Vom Himmel Publisher mentioned as Menestrel on http://www.bach- hoch, da komm ich her (III), cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March BWV 701 2019.

159

Chorale Prelude Lob sei dem Publisher mentioned as Menestrel on http://www.bach- allmächtigen Gott (II) BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 704 2019.

Chorale Prelude Durch Adams Fortepyannye transkripstyi russkih i sovetskih kompozitorov. Fall ist ganz verdebt BWV Vypusk 6 [Piano transcriptions of Russian and Soviet 705* composers. Volume 6]. Moscow: Muzyka, 1971.

Chorale Prelude Liebster Jesu, Publisher mentioned as Menestrel on http://www.bach- wir sind hier (III) BWV 706 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Ich hab mein Publisher mentioned as Menestrel on http://www.bach- Sach Gott heimgestellt (II) cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March BWV 708 2019.

Chorale Prelude Wir Publisher mentioned as Menestrel on http://www.bach- Christenleut BWV 710 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Allein Gott in Publisher mentioned as Menestrel on http://www.bach- der Höh sei Ehr (VII) BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 711 2019.

Chorale Prelude Gott der Vater Publisher mentioned as Menestrel on http://www.bach- BWV 748 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Chorale Prelude Schmücke Publisher mentioned as Menestrel on http://www.bach- dich, o liebe Seele BWV 759 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March 2019.

Canonic variations on Vom Publisher mentioned as Menestrel on http://www.bach- himmel hoch, da komm ich her cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March (II) BWV 769 2019.

Toccata in E major, BWV 566 Publisher mentioned as Menestrel on http://www.bach- (Title and BWV Number do cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March not match) 2019.

Chorale Prelude Kyrie Gott Publisher mentioned as Menestrel on http://www.bach- BWV 673 (Title and BWV cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March Number do not match) 2019.

160

Chorale Prelude Gelobet seist Publisher mentioned as Menestrel on http://www.bach- du, Jesu Christ BWV 692 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March (Title and BWV Number do 2019. not match)

Chorale Prelude Gelobet seist Publisher mentioned as Menestrel on http://www.bach- du, Jesu Christ BWV 693 cantatas.com/NVD/PT-Tscherlitzky.htm. Accessed 9 March (Title and BWV Number do 2019. not match)

Sergey V. Didenko (born 1 June 1944, Moscow)

Didenko’s biography is provided on his personal blog (accessed 26 March 19, but not verified): https://sergedid.livejournal.com/profile Sergey Didenko’s article on Bach’s ornamentation is available in: Sergey Didenko, “Forshlag u Baha,” Fortepiano 4, no. 14 (2001): 15-17.

Transcription Publication records/information on where mention of work was found

Chorale Prelude Herr Christ, Fortepyannye transkripstyi russkih i sovetskih kompozitorov. der einig Gottes Sohn (I) BWV Vypusk 6 [Piano transcriptions of Russian and Soviet 601* composers. Volume 6]. Moscow: Muzyka, 1971. Available at the Russian State Library.

Chorale Prelude Christ, unser Fortepyannye transkripstyi russkih i sovetskih kompozitorov. Herr, zum Jordan kam (I) Vypusk 6 [Piano transcriptions of Russian and Soviet BWV 684* composers. Volume 6]. Moscow: Muzyka, 1971. Available at the Russian State Library

Chorale Prelude Herzlich tut Fortepyannye transkripstyi russkih i sovetskih kompozitorov. mich verlangen BWV 727* Vypusk 6 [Piano transcriptions of Russian and Soviet composers. Volume 6]. Moscow: Muzyka, 1971. Available at the Russian State Library

Chorale Prelude Lobt Gott, ihr Fortepyannye transkripstyi russkih i sovetskih kompozitorov. Christen, allzugleich (II) BWV Vypusk 6 [Piano transcriptions of Russian and Soviet 732* composers. Volume 6]. Moscow: Muzyka, 1971. Available at the Russian State Library

161

Keyboard Concerto in D Published by Muzyka. minor, two-piano reduction*

Keyboard Concerto in F minor Bach, Johann Sebastian. Kontsert fa minor BWV 1056 BWV 1056, two-piano [Concerto in F minor BWV 1056] (Moscow: Muzyka, 1994). reduction* Available at the Russian State Library

Anatoly Nikolaevich Drozdov (4 November 1883, Saratov - 10 September 1950, Moscow)

At the age of 16 Drozdov transcribed by ear a compilation of student and revolutionary songs. After graduating from secondary school with a gold medal (also attending the Saratov Music College), Drozdov entered the Petersburg Military-Medical Academy; however due to political reasons had to leave Russia. From 1902 to 1904 Drozdov studied law in Paris, and then in St Petersburg, where he concurrently was studying at the St Petersburg Conservatory with N. Dubasov. While Drozdov was a student at the St Petersburg Conservatory he took part in student revolutionary movements. In 1905 he was arrested for the first time; in 1908, he was sentenced to exile after a second arrest. A. Glazunov managed to use his influence for the exile sentence to be softened to police supervision. Drozdov was one of the main organisers of the premiere of Rimsky-Korsakov’s opera Kaschey Bessmertnyy, despite police opposition against the opera. Drozdov graduated from the St Petersburg Conservatory in 1909 with a gold medal, and subsequently organised many events promoting music to the public, including some of the earliest lecture-recitals in Russia. The themes of these included the topics of Liszt’s music, and the relationship between music and visual art. Drozdov gave over 1000 concerts in pre- revolutionary Russia. In 1910 Drozdov took lessons from T. Leschetitsky and L. Godowsky in Vienna. Drozdov was the principal of the Ekatirinodar Music College, teaching piano, orchestral and opera classes and holding a ‘theory of musical expression’ class. After his return to St Petersburg, he worked at the People’s Conservatory and for the music paper ‘Muzykal’nyy sovremennik’. During his time as a professor at the Saratov Conservatory he also organised concerts for Red Army soldiers. In 1920 Drozdov moved to Moscow where he taught at the Moscow Conservatory and the Scriabin Music College. Furthermore he gave lectures at the Proletkult, the State Institute of Musical Science, and The State Academy of Artistic Sciences. As a performer he also collaborated with the singer T. N. Trofimova. He also worked for the paper ‘Muzyka i revolyutsyya’. From 1932-1944 he was a lecturer for the Moscow Philharmony. During the years of the Great Patriotic War (1941-1945), Drozdov held more than 100 concerts in hospitals. As a composer, he wrote a piano concerto, two piano sonatas, two piano trios, a piano quintet, a sonata for cello and piano, piano pieces for children, Rhapsody on Ukrainian themes for piano and orchestra, the ballet Romeo and Juliet, two orchestral suites, Volga-Don Overture, and romances. Drozdov also published a number of historical research papers on Russian music. He was an active member of the Composers’ Union, a member of a Mossovet, took part in the sittings of the High Court, and was a promoter for the Verhovnyy Sovet [Supreme Soviet] elections. Sources: Valentina Ramm, “A. N. Drozdov,” Sovetskaya muzyka 10 (1940): 79; Anatoly Nikolayevich Drozdov, “Kontsert V. Merzhanova” [V. Merzhanov’s concert], Sovetskaya muzyka 1 (1949): 109-115; V. Kochetov, “Pamyati A. N. Drozdova” [In memory of A. N. Drozdov], Sovetskaya Muzyka 12 (1950): 77-78; Sovetsakaya Entsyklopediya, Muzykal’naya entsyklopediya. Tom 2. [Music Encyclopedia. Volume 2] (Moscow: Sovetskaya entsyklopediya, 1974), 320.

162

Transcription Publication records/information on where mention of work was found

Prelude in G minor BWV 535* Drozdov, Anatoly. Perelozheniya i obrabotki dlya fortepiano. Organnaya prelyudiya g-moll [Piano transcriptions and reworkings. Organ prelude g minor]. Moscow: Gosudarstvennoye izdatel’stvo, muzykal’nyy sektor, 1927.

Chorale Prelude Aus der Tiefe Drozdov, Anatoly. Perelozheniya i obrabotki dlya rufe ich, BWV 745* fortepiano. Dva organnyh horala [Piano transcriptions and reworkings. Two organ chorales]. Moscow: Gosudarstvennoye izdatel’stvo, muzykal’nyy sektor, ?.

Chorale Prelude Jesu Leiden, Drozdov, Anatoly. Perelozheniya i obrabotki dlya Pein und Tod, BWV Anh 57* fortepiano. Dva organnyh horala [Piano transcriptions and reworkings. Two organ chorales]. Moscow: Gosudarstvennoye izdatel’stvo, muzykal’nyy sektor, ?.

Samuil Yevgenyevich Feinberg (26 May 1890, Odessa - 22 October 1962, Moscow)

Soviet pianist, composer, pedagogue, organist, transcriber. In 1911 Feinberg graduated from the Moscow Conservatory under the tutelage of A. B. Goldenweiser. As part of his graduation exam he performed the whole Well-Tempered Clavier by J. S. Bach. His first concert performance of this set was in 1914. He was mobilised to the army during World War I, but was demobilised due to typhoid illness. After the October Revolution he concertised around Russia and Europe, including Venice, Berlin and Vienna. He was the first performer after the composer of S. Prokofiev’s Piano Concerto No 3. In the 1920s he performed A. Scriabin’s complete piano sonatas in two concerts. From 1922 to 1962 he was a piano professor at the Moscow Conservatory. During the Great Patriotic War Feinberg was evacuated, returning to Moscow in 1943. Amongst Feinberg’s students were V. Merzhanov and V. Bunin. As a composer he was the author of three piano concertos and twelve piano sonatas amongst other works. As a transcriber, he not only turned to the works of J. S. Bach, but also those of P. I. Tchaikovsky, M. P. Mussorgsky, and A. P. Borodin. Feinberg held the title of Honoured Worker of the Arts of the RSFSR (1937), has been awarded the Stalin Prize (1946) and the Order of Lenin.

Sources: Alexander Aleksandrovich Nikolaev, “Vydayuschiyesya predstaviteli sovetskogo fortepiannogo iskusstva” [Notable representatives of the Soviet piano art], in Ocherki po istorii sovetskogo fortepiannogo iskusstva [Essays on the history of the Soviet pianistic art], ed. Alexander Aleksandrovich Nikolaev and Vladimir Petrovich Chinaev (Moscow: Muzyka, 1979), 249-250; Irina Vladimirovna Lihachyova, ed., Samuil Yevgenyevich Feinberg. Pianist. Kompozitor. Issledovatel’ [Samuil Yevgenyevich Feinberg. Pianist. Composer. Researcher] (Moscow: Sovetskiy Kompozitor, 1984), 194-196.

163

Transcription Publication records/information on where mention of work was found

Largo from Trio Sonata No. 5 Feinberg, Samuil Yevgenyevich. Largo. Moscow: Muzyka, in C major, BWV 529* date and compilation unknown. Accessed 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344865/nhafj

Prelude and Fugue in E minor Recording available on Samuil Feinberg in sound and BWV 533 thought. Moscow: 1948-1962. Arbiter Label, 2006. ASIN: B000BTQG76

Prelude and Fugue in E minor Bach, Johann Sebastian. Organnaya prelyudiya i fuga mi BWV 548* minor [Organ Prelude and Fugue in E minor]. Moscow: Muzyka, 1965.;

Feinberg, Samuil Yevgenyevich. Prelyudiya i fuga [Prelude and fugue]. Compilation unknown. Moscow: Muzyka, 1966. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344864/nhafj

Concerto for Organ in A minor Bach, Johann Sebastian. Kontsert dlya organa a-moll (after A. Vivaldi), BWV 593* [Concerto for organ in A minor]. arr. Samuil Feinberg. Moscow: Muzsektor Gosizdatel’stva, 1929. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/315427/nhafj

Chorale Prelude Alle Recording available on Iskusstvo S. Feinberga [Art of S. Menschen müssen sterben (I), Feinberg]. Melodiya, recorded 1952. Label С 10—16859-64. BWV 643* This transcription is most likely completed by Feinberg himself however this has not been confirmed.

Chorale Prelude Wer nur den Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh lieben Gott lässt walten (II), prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. BWV 647* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Ach bleib' bei Fortepyannye transkriptsyyi russkih i sovetskih uns, Herr Jesu Christ, BWV kompozitorov. Vypusk 4 [Piano transcriptions of Russian and 649* Soviet composers. Volume 4]. ed. Leonid Royzman. Moscow: Muzyka, 1966.;

Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

164

Chorale Prelude Kommst du Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh nun, Jesu, vom Himmel prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. herunter, BWV 650* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude An Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh Wasserflüssen Babylon (I), prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. BWV 653* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Herr Jesu Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh Christ, dich zu uns wend (I), prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. BWV 655* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Von Gott will Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh ich nicht lassen, BWV 658* prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Nun komm Fortepyannye transkriptsyyi russkih i sovetskih der Heiden Heiland (II), BWV kompozitorov. Vypusk 4 [Piano transcriptions of Russian and 659* Soviet composers. Volume 4]. ed. Leonid Royzman. Moscow: Muzyka, 1966.;

Chorale Prelude Allein Gott in Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh der Höh sei Ehr (I), BWV 662 prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. (1st version and 2nd version)* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Not determined if this is 1st or 2nd version.

Chorale Prelude Allein Gott in Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh der Höh sei Ehr (III), BWV prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. 663* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

165

Chorale Prelude Jesus Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh Christus, unser Heiland (II), prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. BWV 665* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Durch Adams Feinberg, Samuil Yegvenyevich. Detskiy al’bom [Children’s Fall ist ganz verdebt, BWV Album]. Moscow: Sovetskiy Kompozitor, 1990. Accessed on 705, transcribed for piano 4 9 March 2019 hands* https://imslp.org/wiki/Special:ImagefromIndex/344076/nhafj

Chorale Prelude Allein Gott in Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh der Höh sei Ehr (VII), BWV prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. 711* Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Ein feste Burg Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh ist unser Gott, BWV 720* prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Valet will ich Bach, Johann Sebastian and Samuil Feinberg. 13 Horal’nyh dir geben, BWV 735* prelyudiy [13 Chorale Preludes]. Moscow: Muzyka, 1966. Accessed on 9 March 2019 from https://imslp.org/wiki/Special:ImagefromIndex/344070/nhafj

Chorale Prelude Ach Herr, Mentioned on the website http://www.bach- mich armen Sünder, BWV cantatas.com/NVD/PT-Feinberg.htm Accessed on 9 March 742* 2019 . No other sources found yet.

Alexander Fyodorovich Goedicke (4 March 1877, Moscow - 9 July 1957, Moscow)

Pianist, organist, composer, pedagogue. Goedicke’s biography is relatively well known. However selected facts are still presented here. Goedicke’s father and grandfather were both musicians and his cousin was the composer- pianist N. Medtner. At the Moscow Conservatory his teachers included P. A. Pabst, V. I. Safonov (piano), and A. Arensky, N. M. Laduhin and G. Yu. Konyus (theory and composition). He graduated from the conservatory in 1898, upon which he worked at the Nikolaevskiy and Yelizavetinskiy Institutes. From 1909 Goedicke became a piano professor at the Moscow Conservatory, from 1919 headed the chamber ensemble faculty, in 1920 started also teaching organ there, and in 1923 became the head of the organ faculty. The same year he gave his first solo concert on the organ of the Great Hall of the Moscow Conservatory. His students include L. Royzman, N. Ya. Vygodsky, and M. L. Starokadomsky.

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Goedicke was a prolific transcriber and transcribed not only for the piano but also for orchestra and ensembles. He was awarded a People’s Artist of RSFSR (1946), and Honoured Worker of Arts of RSFSR titles, the Stalin Prize (1948), and won the composition prize at the Third Rubinstein Competition in Vienna (1900). Goedicke’s compositions for young piano students remain popular. Goedicke was married to E. P. Chernyshyova. Sources: Alexander Fyodorovich Goedicke, Sbornik statey i vospominaniy, ed. K. Adzhemov (Moscow: Sovetskiy Kompozitor, 1960); Boris Veniaminovich Levik, Alexander Gedike (Moscow: Soyuz Sovetskih Kompozitorov, 1947); Alexander Borisovich Goldenweiser, “Iz vospominaniy ob Aleksandre Fyodoroviche Gedike” [From reminiscences of Alexander Fyodorovich Goedicke], in O muzykal’nom iskusstve [About musical art]. (Moscow: Muzyka, 1975): 231-236.

Transcription Publication records/information on where mention of work was found

Aria for Soprano Schafe Mentioned on http://www.bach-cantatas.com/NVD/PT- können sicher weiden from Goedicke.htm Accessed 4 April 2019. Cantata BWV 208

Prelude and Fugue in D minor, Organnaya prelyudiya i fuga re minor [Organ prelude and BWV 539* fugue in D minor]. arr. Alexander Goedicke. Moscow: Muzgiz, 1962.

Prelude and Fugue in G major, Bach, Johann Sebastian. Organnaya prelyudiya i fuga [Organ BWV 541* prelude and fugue]. arr. Alexander Goedicke. Moscow: Muzgiz, 1931. Accessed 09/03/2018 from https://imslp.org/wiki/Special:ImagefromIndex/33275/nhafj

Prelude and Fugue in G major, Organnyye sochineniya I. S. Baha v obrabotke A. F. Gedike BWV 550 dlya fortepiano [Organ compositions of J. S. Bach arranged by A. F. Goedicke for piano]. Moscow: Muzsektor Gosizdata, 1926. This edition is noted as such in: Budkeev, Sergey Mihaylovich. A. F. Gedike-organist (ispolnitel’, pedagog, kompozitor) [A. F. Goedicke-organist (performer, pedagogue, composer). 2nd ed. Barnaul: Izdatel’stvo BGPU, 2004.

Organ Prelude and Fugue in C Organnyye sochineniya I. S. Baha v obrabotke A. F. Gedike minor dlya fortepiano [Organ compositions of J. S. Bach arrangenged by A. F. Goedicke for piano]. Moscow: Muzsektor Gosizdata, 1926.

This edition is noted as such in Budkeev, Sergey Mihaylovich. A. F. Gedike-organist (ispolnitel’, pedagog, kompozitor) [A. F. Goedicke-organist (performer,

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pedagogue, composer). 2nd ed. Barnaul: Izdatel’stvo BGPU, 2004. In the book the BWV number is not given, and the work is stated as being from ‘Volume 3’ from the Grieppenkerl (Peters) edition.

Organ Prelude and in C major. The edition is noted as: Moscow: Muzsektor Gosizdata, 1927, in Budkeev, Sergey Mihaylovich. A. F. Gedike- organist (ispolnitel’, pedagog, kompozitor) [A. F. Goedicke- organist (performer, pedagogue, composer). 2nd ed. Barnaul: Izdatel’stvo BGPU, 2004, 211. In the book the BWV number is not given, and the work is stated as being from ‘Volume 2’ from the Grieppenkerl (Peters) edition. Therefore this is most likely BWV 547.

Fugue on a theme by Legrenzi Publisher mentioned as Muzyka on http://www.bach- in C minor, BWV 574 cantatas.com/NVD/PT-Goedicke.htm Accessed 3 April 2019.

Fugue in C minor, BWV 575 Mentioned on http://www.bach-cantatas.com/NVD/PT- Goedicke.htm Accessed 3 April 2019.

Passacaglia in C minor, BWV Edition specified as: Moscow: Muzgiz, 1931. In Budkeev, 582, transcribed for piano 4 Sergey Mihaylovich. A. F. Gedike-organist (ispolnitel’, hands.* pedagog, kompozitor) [A. F. Goedicke-organist (performer, pedagogue, composer). 2nd ed. Barnaul: Izdatel’stvo BGPU, 2004.

Fugue in G minor BWV 578 Manuscript available at the Russian National Music Museum transcribed for piano 8 hands.* archive.

Chorale Prelude Das alte Jahr Fortepyannye transkriptsyyi russkih i sovetskih vergangen ist (I), BWV 614.* kompozitorov. Vypusk 5 [Piano transcriptions of Russian and Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Chorale Prelude O Mensch, Fortepyannye transkriptsyyi russkih i sovetskih bewein' dein’ Sünde gross, kompozitorov. Vypusk 4 [Piano transcriptions of Russian and BWV 622* Soviet composers. Volume 4]. ed. Leonid Royzman. Moscow: Muzyka, 1966

Chorale Prelude Wir danken Fortepyannye transkriptsyyi russkih i sovetskih dir, Herr Jesu Christ, BWV kompozitorov. Vypusk 5 [Piano transcriptions of Russian and 623* Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

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Chorale Prelude Jesus Fortepyannye transkriptsyyi russkih i sovetskih Christus, unser Heiland (I), kompozitorov. Vypusk 5 [Piano transcriptions of Russian and BWV 626* Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Chorale Prelude Alle Fortepyannye transkriptsyyi russkih i sovetskih Menschen müssen sterben (I), kompozitorov. Vypusk 5 [Piano transcriptions of Russian and BWV 643* Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Chorale Prelude Meine Seele Fortepyannye transkriptsyyi russkih i sovetskih erhebet den Herren, BWV kompozitorov. Vypusk 5 [Piano transcriptions of Russian and 648* Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Chorale Prelude Herzlich tut Fortepyannye transkriptsyyi russkih i sovetskih mich verlangen, BWV 727* kompozitorov. Vypusk 5 [Piano transcriptions of Russian and Soviet composers. Volume 5]. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Concerto for harpsichord, Edition specified as: Moscow: Muzsektor Gosizdata, 1926. strings and continuo No. 7 in G In Budkeev, Sergey Mihaylovich. A. F. Gedike-organist minor, BWV 1058, transcribed (ispolnitel’, pedagog, kompozitor) [A. F. Goedicke-organist for 2 pianos* (performer, pedagogue, composer). 2nd ed. Barnaul: Izdatel’stvo BGPU, 2004.

Incomplete first movement available in: Bach, Johann Sebastian. Kontsert No 7 [Concerto No 7]. Moscow: Sovetskiy Kompozitor, date unknown. Accessed 09/03/2019 from https://imslp.org/wiki/Special:ImagefromIndex/428409/nhafj

Viktor Viktorovich Goncharenko (Ukraine) (born 29 April 1959, Dnepropetrovsk)

Ukrainian composer and editor. Goncharenko graduated from the Kiev Conservatory in 1983 studying with V. Kireyko. From 1983-1994 he was the leading editor in the publishing Muzychna Ukraina. Between 1995 and 1999 Goncharenko was a computer modeller for the Ukrainian Centre for Cultural Studies. Goncharenko composed a number of works, ranging from orchestral to solo piano. Goncharenko’s webpage as part of the Ukrainian Composers’ Union is http://composersukraine.org/index.php?id=559 (accessed 26/03/19)

Sources: G. V. Kon’kova, “Goncharenko Viktor Viktorovich,” Encyclopedia of Modern Ukraine, accessed online 16 March 2019, http://esu.com.ua/search_articles.php?id=30844.

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Transcription Publication records/information on where mention of work was found

Chorale Prelude in F minor, Accessed 16 March 2019 from transcribed for two pianos* http://nlib.org.ua/pdf/piano/bach/bach-hpr-fmoll.pdf No data has been acquired as to the date of this transcription, and whether it has been completed in the Ukrainian SSR or the country Ukraine in post-Soviet times.

Alexander (Oleksandr) Mihaylovich Goncharov (1921-2011) (USSR, Ukraine)

Goncharov was particularly interested in the music of Rachmaninov. From 1967-1997 Goncharov was an associate professor of piano at the Odessa State Conservatory. From 1997- 2002 he was a professor at the Tianjin Conservatory in China. Source: Olga Chebotarenko, “Fenomen pianista Oleksandra Goncharova” [The phenomenon of the pianist Oleksandr Goncharov], Ukrainske Mistetsvoznavstvo: materialy, doslidzheniya 16 (2016): 218-223, accessed 26 March 2019, http://um.etnolog.org.ua/zmist/2016/218.pdf

Transcription Publication records/information on where mention of work was found

Largo from Organ Sonata in C Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi major BWV 529* dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Prelude in A minor BWV 569* Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Trio in D minor BWV 583* Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Das alte Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi Jahre vergangen ist BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 614* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

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Chorale Prelude Jesus Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi Christus, unser Heiland BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 626* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Erstanden ist Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi der heilige Christ BWV 628* dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Heut Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi triumphiret Gottes Sonn, BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 630* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Wer nur den Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi lieben Gott läßt walten BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 642* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Alle Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi Menschen müssen Sterben dlya fortepiano Aleksandra Mihailovicha Goncharova BWV 643* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Ach wie Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi nichtig, ach wie flüchtig BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 644* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Allein Gott in Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi der Höh’ sei Ehr BWV 663* dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Vater unser Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi im Himmelreich BWV 683 dlya fortepiano Aleksandra Mihailovicha Goncharova (two versions)* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Chorale Prelude Christ, unser Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi Herr, zum Jordan kam BWV dlya fortepiano Aleksandra Mihailovicha Goncharova 684* [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

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Chorale Prelude Ach Gott und Bach, Johann Sebastian. Horal’nye prelyudii v transkripsyi Herr BWV 714* dlya fortepiano Aleksandra Mihailovicha Goncharova [Chorale preludes transcribed for piano by Alexander Mihaylovich Goncharov]. Kiev: Muzychna Ukraina, 1984.

Andrey Goncharov

Limited information is provided on: Aryeh Oron, Bach Cantatas, accessed 26 March 2019, http://www.bach- cantatas.com/Lib/Goncharov-Andrey.htm. It was, however, not possible to verify the information sources.

Transcription Publication records/information on where mention of work was found

Chorale Prelude Wer nur den Mentioned on http://www.bach-cantatas.com/NVD/PT- lieben Gott lässt walten (I), Goncharov-A.htm BWV 642 Accessed 9 March 2019. Recorded on Angelika Nebel, Bach Metamorphosis (Hänssler Classic, 2013), ASIN: B00ARWDSAA. In the liner notes of this CD it is specified that the score for the work is kept at the Russian National Museum of Music.

Alexander L’vovich Ioheles (11 March 1912, Moscow - 19 June 1978)

Soviet pianist and pedagogue. Ioheles’s father was a doctor. From the age of 8 Ioheles studied piano with E. G. Gel’man, and from the year 1925 at the Gnessin Institute. After entering the Moscow Conservatory in 1928 directly into second year Ioheles studied with K. N. Igumnov, graduating in 1932, and continued studying with him in the postgraduate program until 1935. In 1933 Ioheles received the second prize of the First All-Union Competition of performing musicians. Ioheles is known to have had a varied repertoire, and had included lesser-known works in his programs. These works include A. Honegger’s Concertino and premieres of concertos by O. Taktakishvili, O. Gordeli, K. Makarov-Rakitin, and A. Doluhanyan. Ioheles was very interested in transcriptions and in a recital in the 1960s dedicated half of the program to transcriptions of J. S. Bach’s, C. W. Gluck’s and G. F. Handel’s works. In a review of a recital by Ioheles in the Tchaikovsky Concert Hall in Moscow, V. Del’son notes his performance of Bach chorale preludes in transcriptions of F. Busoni, T. Szanto, S. Feinberg, A. Goedicke, to which Ioheles had made some alterations himself according to what had been in Bach’s original. Ioheles taught at the Moscow State Conservatory (commencing an assistant

172 position in chamber ensemble on the suggestion of A. Goedicke, and becoming an assistant professor in 1936), Tbilisi Conservatory (1946-1952) and at the Gnessin Institute (from 1952 or 1956 – Nosina and Grigoryev provide conflicting information).

Source: Lev Grigoryevich Grigoryev and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 151-152; Vera Borisovna, Nosina, “Moy uchitel’ Ioheles” [My teacher Ioheles], in Fortepiannaya pedagogika Rossii [Piano pedagogy of Russia] (Moscow: Moscow Schnittke State Music Institute, 2008): 22-29; Author unknown, “Iz kontsertnyh zalov” [From the concert halls], Sovetskaya muzyka 2 (1959), 141-142; V. Del’son, “V kontsetnyh zalah” [In Concert Halls] Muzykal’naya Zhyzn’ 12 (1967).

Transcription Publication records/information on where mention of work was found

Recitative from Cantata No 51, Ioheles, Alexander L’vovich. Kontsertnye obrabotki dlya BWV 51* fortepiano solo proizvedeniy I. S. Baha, R. Shumana, S. V. Rahmaninova. Shedevry fortepiannoy transkriptsii. Vypusk 21 [Concert arrangements for piano solo of works by J. S. Bach, R. Schumann, S. V. Rachmaninov. Masterpieces of piano transcriptions. Volume 21] (Moscow: Deka-VS, 2012).

Aria Esurientes implevit bonis Ioheles, Alexander L’vovich. Kontsertnye obrabotki dlya from Magnificat BWV 243* fortepiano solo proizvedeniy I. S. Baha, R. Shumana, S. V. Rahmaninova. Shedevry fortepiannoy transkriptsii. Vypusk 21 [Concert arrangements for piano solo of works by J. S. Bach, R. Schumann, S. V. Rachmaninov. Masterpieces of piano transcriptions. Volume 21]. Moscow: Deka-VS, 2012.

Chorale Prelude O Mensch, Ioheles, Alexander L’vovich. Kontsertnye obrabotki dlya bewein dein Sünde groß, BWV fortepiano solo proizvedeniy I. S. Baha, R. Shumana, S. V. 622* Rahmaninova. Shedevry fortepiannoy transkriptsii. Vypusk 21 [Concert arrangements for piano solo of works by J. S. Bach, R. Schumann, S. V. Rachmaninov. Masterpieces of piano transcriptions. Volume 21]. Moscow: Deka-VS, 2012.

Igor Pavlovich Ilyin (4 October 1909- unknown)

Ilyin was a student of D. Kabalevsky (composition), K. Igumnov and G. Ginzburg (piano) at the Moscow Conservatory. As a composer Ilyin wrote various instrumental works, folk song arrangements, vocal cycles, and operettas such Schastlivyy Reys. Ilyin was also an editor and organiser; he headed various organisations such as all-union tour-concert group, the Management of musical theatres of the Arts Committee, the creative and organisational committee of the Composers’ Union, the principal publication centre of the music segment of the All-union Radio, and was the chief editor of Sovetskiy Kompozitor publishing. Sources: E(?) Rakuzina, “Pozdravlyayem s yubileyem!” [Congratulations on an anniversary!], Sovetskaya muzyka [Soviet music] 10 (1969): 152.

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Transcription Publication records/information on where mention of work was found

Organ Sonata in C Minor Bach, Johann Sebastian. Organnaya sonata do minor. BWV 526* Organnaya prelyudiya i fuga do mazhor [Organ sonata in C minor. Organ prelude and fugue in C major]. arr. Igor Ilyin. Moscow: Muzyka, 1990. Available at the Moscow State Conservatory Research Library

Organ Prelude and Fugue in C Bach, Johann Sebastian. Organnaya sonata do minor. Major, from Toccata BWV Organnaya prelyudiya i fuga do mazhor [Organ sonata in C 566* minor. Organ prelude and fugue in C major]. arr. Igor Ilyin. Moscow: Muzyka, 1990. Available at the Moscow State Conservatory Research Library.

Chorale Prelude Nun komm Bach, Johann Sebastian. Organnyye horl’nyye prelyudii der Heiden Heiland (I), BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. 599* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Herr Christ, Bach, Johann Sebastian. Organnyye horl’nyye prelyudii der einig Gottes Sohn (I), [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. BWV 601* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Jesu, meine Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Freude (I), BWV 610* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Helft mir Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Gottes Güte preisen (I), BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. 613* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Christ lag in Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Todesbanden (I), BWV 625* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Christ ist Bach, Johann Sebastian. Organnyye horl’nyye prelyudii erstanden (I), BWV 627* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

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Chorale Prelude Heut Bach, Johann Sebastian. Organnyye horl’nyye prelyudii triumphieret Gottes Sohn (I), [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. BWV 630* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Vater unser Bach, Johann Sebastian. Organnyye horl’nyye prelyudii im Himmelreich (I), BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. 636* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Ich dich hab Bach, Johann Sebastian. Organnyye horl’nyye prelyudii ich gehoffet, Herr, BWV 640* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Ach wie Bach, Johann Sebastian. Organnyye horl’nyye prelyudii nichtig, ach wie flüchtig, BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. 644* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Wo soll ich Bach, Johann Sebastian. Organnyye horl’nyye prelyudii fliehen hin (I), BWV 646* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Nun komm Bach, Johann Sebastian. Organnyye horl’nyye prelyudii der Heiden Heiland (IV), [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. BWV 661* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Kyrie, Gott Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Vater in Ewigkeit BWV 672* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Kyrie, Gott Bach, Johann Sebastian. Organnyye horl’nyye prelyudii heiliger Geist (II), BWV 674* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Wir glauben Bach, Johann Sebastian. Organnyye horl’nyye prelyudii all an einen Gott, BWV 681* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Vater unser Bach, Johann Sebastian. Organnyye horl’nyye prelyudii im Himmelreich (III), BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973.

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683* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Wer nur den Bach, Johann Sebastian. Organnyye horl’nyye prelyudii lieben Gott lässt walten (III), [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. BWV 690* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Ach Gott und Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Herr, BWV 693* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Christum wir Bach, Johann Sebastian. Organnyye horl’nyye prelyudii sollen loben schon, BWV 696* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Ach Gott und Bach, Johann Sebastian. Organnyye horl’nyye prelyudii Herr, BWV 714* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Allein Gott in Bach, Johann Sebastian. Organnyye horl’nyye prelyudii der Höh sei Ehr (VIII), BWV [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. 715* Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Ein feste Burg Bach, Johann Sebastian. Organnyye horl’nyye prelyudii ist unser Gott, BWV 720* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Herzlich tut Bach, Johann Sebastian. Organnyye horl’nyye prelyudii mich verlangen, BWV 727* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Chorale Prelude Aus der Tiefe Bach, Johann Sebastian. Organnyye horl’nyye prelyudii rufe ich, BWV 745* [Organ chorale preludes]. Kiev, Muzichna Ukraina, 1973. Available at Yaroslavl Regional Research Library named after Nekrasov.

Pedal-Exercitium BWV 598* Publisher mentioned as Moscow, Muzyka, 1968, editor Konstantin Sorokin, on http://www.bach- cantatas.com/NVD/PT-Ilin.htm Accessed on 9 March 2019

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Dmitry Borisovich Kabalevsky (30 December 1904, Saint Petersburg - 14 February 1987, Moscow)

Kabalevsky’s biography is well researched. Information in English is readily available and is therefore not provided here.

Transcription Publication records/information on where mention of work was found

Organ Sonata in C minor, Bach, Johann Sebastian. Izbrannyye proizvedeniya dlya BWV 526* fortepiano [Selected works or piano], ed. L. Royzman, vol. 3. Moscow: Muzyka, 1964.

Toccata and Fugue in D minor Fortepyannye transkriptsyyi russkih i sovetskih BWV 538* kompozitorov. Vypusk 4 [Piano transcriptions of Russian and Soviet composers. Volume 4]. ed. Leonid Royzman. Moscow: Muzyka, 1966

Prelude and Fugue in C minor Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 549* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in C major, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 553* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in D minor, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 554* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in E minor, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 555* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

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Prelude and Fugue in F major, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 556* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in G major, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 557* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in G minor, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 558* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in A minor, Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie BWV 559* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Prelude and Fugue in B flat Bach, Johann Sebastian and Dmitry Kabalevsky. Malenkie major, BWV 560* organnyye prelyudii i fugi. Organnaya prelyudiya i fuga do minor. Organnaya tokkata i fuga re minor (doriyskaya) [Little organ prelude and fugues. Organ prelude and fugue in C minor. Organ toccata and fugue in D minor (Dorian)]. Moscow: Muzyka, 1985.

Nikolay Kopchevsky (born 24 April 1930, Leningrad - unknown)

Kopchevsky studied piano and theory at the Moscow Conservatory with H. Neuhaus and Y. I. Mil’shteyn. He was one of the leading editors for Muzyka publishing. From 1961 to 1966 he worked at the music faculty of the Moscow Lenin State Pedagogical Institute, and in 1966- 1973 at the Moscow Conservatory. Kopchevsky published a number of scholarly studies on piano literature. His analysis of stylistic and interpretative principles of Bach’s music are found in: Nikolay Kopchevsky, “Iogann Sebastian Bah” [Johann Sebastian Bach], in Voprosy muzykal’noy pedagogiki [Questions of music pedagogy], ed. V. A. Natanson. (Moscow: Muzyka, 1979), 85-106.

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Source: Author unknown, “Kopchevsky N. Ya,” in Bolshaya Biograficheskaya Entsyklopediya [Great Biographical Encyclopedia], 2009, accessed 26 March 2019, https://dic.academic.ru/dic.nsf/enc_biography/60094/Копчевский

Transcription Publication records/information on where mention of work was found

Edition for piano of Die Kunst Bach, Johann Sebastian. Iskusstvo fugi: Izd. dlya f-p [Art of der Fuge BWV 1080* Fugue: edition for p-no]. Moscow: Muzyka, 1982. Available at the Russian State Library (MZ МЗ Т-22/143)

A Korol’kov

No information was located. The Russian State Library holds the scores of: A. Korolkov, Rosiyska rapsodiya [Russian Rhapsody] (Kharkov: Mistetstvo, 1940). (Storage codes: MZ N 3/214, MZ N 3/215); Lev Nikolaevich Revutsky, Kozachok, Kontsertnaya transkriptsyya dlya fortepiano A. Korol’kova [Concert arrangement for piano by A. Korol’kov] (Kiev: Mistetstvo hud. Druku Vid-va v Hrk, 1938). (Storage codes: MZ S 107/437, MZ S 107/438); Johann Sebastian Bach, Organna fuga sol’ g-moll. Transkriptsiya dlya f.-p. A. Korol’kova [Organ fugue in G minor. Transcription for piano by A. Korol’kov] (Kiev: Mistetstvo hud. Druku Vid-va v Hrk, 1939). (Storage codes: MZ T 80/503, MZ T 80/504.) From this it can be concluded that most likely Korol’kov was active during the 1930s and/or 1940s, most likely in the Ukraine. He was also most likely a pianist as one of his transcriptions is entitled ‘concert arrangement’ and he also wrote a solo piano rhapsody.

Transcription Publication records/information on where mention of work was found

Fugue in G minor, BWV 578* Korol’kov, A. Kontsertnaya transkriptsyya dlya fortepiano [Concert transcription for the piano] Kiev: Mistetsvo F-ka hud. Druku Vid-va v Vrk., 1939. Available at the Russian State Library (MZ T 80/503).

Nikolay Mednikov (1890 - 19 April 1942)

Mednikov studied at the Petrograd Conservatory and relocated to the USA in 1914. He played extensively with cellist P. Casals and made numerous recordings with him. In 1929 Mednikov was one of the founders of the Westchester Conservatory. Mednikov took his own life at his workplace.

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Mednikov’s biography (from which the above information was taken) is available on Naxos accessed 27 March 2019, https://www.naxos.com/person/Nicolai_Mednikoff_5120/5120.htm.

Transcription Publication records/information on where mention of work was found

Aria for Soprano Mein Bach, Johann Sebastian and Nicolai Mednikov. My heart glaubiges Herze from Cantata ever so faithful: aria from the “Pentecost cantata”. New BWV 68, transcribed 2 for York: C. Fischer, 1942. pianos Available at California State University, Sacramento; University of California, Irvine; Oral Roberts University Library; Morningside College; University of Arkansas, Fayetteville; Hennepin County Library. NB. This score was not viewed for this study; reference taken from WorldCat.

Fugue in G minor BWV 578, Bach, Johann Sebastian and Nicolai Mednikov. Organ fugue transcribed for 2 pianos in G minor (the little). Philadelphia, Pa.: Elkan-Vogel, 1938. Available at the Queen’s University, Documents Library, Kingston. NB. This score was not viewed for this study; reference taken from WorldCat.

Recording available on Johann Sebastian Bach: Piano Transcriptions, Vol. 2 (Great Pianists) (1925-1950). Naxos (recorded 12 May 1947 for Columbia DB2371 (CA20387- 1)).

Viktor Karpovich Merzhanov (15 August 1919, Tambov - 20 December 2012, Moscow)

Soviet/Russian pianist and pedagogue. In his youth Merzhanov had considered becoming a radio engineer, however upon the suggestion of his father he decided to audition for the Moscow Conservatory. Merzhanov played his graduation recital at the Moscow Conservatory on 24 June 1941, where he was a student of S. Feinberg in piano and of A. Goedicke in organ. As the Great Patriotic War (WWII segment involving the USSR) had commenced, Merzhanov soon volunteered for the army, was trained at a tank college, and later, due to illness, played various instruments (including the French horn) in a military orchestra. Despite the break in his career, straight after the war Merzhanov took part in the All-Union Competition for performing musicians, sharing the first prize with S. Richter. From 1945-1947 he completed postgraduate studies at the Moscow Conservatory. Some reviewers have noted that Merzhanov’s playing style borrowed many aspects from the playing of his teacher S. Feinberg. It was not unusual for Merzhanov to include transcriptions of works of J. S. Bach made by Feinberg in his concert programs. Interestingly, A. Drozdov (who had also transcribed Bach) wrote a review for Sovetskaya Muzyka 1949 (1 Jan) of Merzhanov’s 17 November 1948 concert at the Great Hall of the Moscow Conservatory. His response to Merzhanov’s performance of the Vivaldi/Bach/Feinberg Concerto BWV 593 was as following:

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“...straight and clean in its thematicism of the a-moll concerto of Vivaldi-Bach (in S. Ye. Feinberg’s arrangement). It wholly correlated with the style of early classicism, both in its dynamic vividness and its elegiac cantilena. Only in the last movement a somewhat monotonous heightening of dynamics, explicable for the most part by the overloaded piano writing, was felt.” Merzhanov also produced an edition of the Well-Tempered Clavier. In 1949 he was a prizewinner at the Chopin Competition in Warsaw. In 1964 he became a professor at his alma mater. Amongst his students were pianists such as S. Bunin, and Yu. Slesarev. In 1977 Merzhanov was awarded the title ‘People’s Artist of the RSFSR’. In 1973-1978 Merzhanov taught at the Warsaw Conservatory. In the 1990s he taught at the Trossingen Musikhochschule.

Sources: Lev Grigoryevich Grigoryev, and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 221-222; Viktor Karpovich Merzhanov, “Kazhdoe proizvedenie yavlyayetsa moyim sobesdnikom” [Every work is my interlocutor], Muzykal’naya Akademiya 2 (2006), 58-63; Anatoly Nikolayevich Drozdov, “Kontsert V. Merzhanova” [V. Merzhanov’s concert], Sovetskaya muzyka 1 (1949):109-115.

Transcription Publication records/information on where mention of work was found

Chorale Prelude Wer nur den Bach, Johann Sebastian. Organnyye horal’nyye prelyudii lieben Gott lässt walten (I), [Organ chorale preludes], arr. Viktor Merzhanov. Moscow: BWV 642* Gosudarstvennoye Muzykal’noe Izdatel’stvo, 1954.

Chorale Prelude Wer nur den Bach, Johann Sebastian. Organnyye horal’nyye prelyudii lieben Gott lässt walten (III), [Organ chorale preludes], arr. Viktor Merzhanov. Moscow: BWV 690* Gosudarstvennoye Muzykal’noe Izdatel’stvo, 1954.

Chorale Prelude Wer nur den Bach, Johann Sebastian. Organnyye horal’nyye prelyudii lieben Gott lässt walten, BWV [Organ chorale preludes], arr. Viktor Merzhanov. Moscow: 691* Gosudarstvennoye Muzykal’noe Izdatel’stvo, 1954.

Chorale Prelude Liebster Jesu, Bach, Johann Sebastian. Organnyye horal’nyye prelyudii wir sind hier (V), BWV 731* [Organ chorale preludes], arr. Viktor Merzhanov. Moscow: Gosudarstvennoye Muzykal’noe Izdatel’stvo, 1954.

Alexander Sergeevich Nemerovsky (30 March 1859, Poltava gubernia - unknown)

Studied piano in Warsaw with P. Schlözer, then at the Saint Petersburg Conservatory with I. F. Neysilov. After graduating in 1881 he went abroad, studying with J. Dachs. From 1884-1886 he taught piano at the Kharkov Institute. He also taught in Poltava. Nemerovsky also visited Paris twice where he studied piano with A. F. Marmontel and organ. In 1894 he passed the Moscow Conservatory’s examination for the title of ‘free artist’. From 1895 to 1897 he taught piano at the Tiflis College I. R. M. O., then at the music college of the Moscow Philharmonic

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Society. Nemerovsky’s compositional output includes a number of piano pieces (some are held at the Russian State Library), as well as arrangements for piano and for harmonium. He also made a number of pedagogy compilations – for example a method book for harmonium. A freely-accessible online version of a textbook for self-instruction of elementary music theory by A. Nemerovsky is available through the Russian State Library website. Although only the initial is given in both the textbook itself and the library database, this is most likely the same musician as the one in question here: A. Nemerovsky, Samouchitel’ elementarnoy teorii muzyki [Self-study guide for elementary music theory] (Saint Petersburg: V. Bessel’ i К°, 1891), accessed 27 March 2019, https://search.rsl.ru/ru/view/01003660438?redirect=http%3A%2F%2Fdlib.rsl.ru%2Frsl010030 00000%2Frsl01003660000%2Frsl01003660438%2Frsl01003660438.pdf. Library codes: FB A 164/293, FB Рб 17/518, MFK 801-16/1842 Sources: Author unknown, “Nemerovsky,” in Muzykal’nyy slovar’ Rimana [Music dictionary of Riman], ed. G. Riman, and Yu. Engel. (Moscow, 1904). Accessed 27 March 2019, https://riemann_music_dictionary.academic.ru/4999/НЕМЕРОВСКИЙ.

Transcription Publication records/information on where mention of work was found

Toccata in D minor, BWV Bach, Johann Sebastian. Izbrannyye proizvedeniya [Selected 565* works], vol. 2. ed. Leonid Royzman. Moscow: Muzyka, 1967.

Toccata in D minor, BWV 565 Transcribed for 2 pianos. Publisher noted as Jurgenson on http://www.bach-cantatas.com/NVD/PT-Nemerowsky.htm Accessed on 9 March 2019

Allegro from Concerto No. 2 Publisher noted as Muzyka on http://www.bach- in A minor (after A. Vivaldi), cantatas.com/NVD/PT-Nemerowsky.htm Accessed on 9 BWV 593 March 2019

Largo from Concerto in D Accessed from minor (after A. Vivaldi), BWV https://imslp.org/wiki/Special:ImagefromIndex/391082/nhafj 596* 9/03/2018. Publisher and date unknown.

Sicilienne from Flute Sonata Bach, Johann Sebastian. Izbrannyye proizvedeniya [Selected No 2, BWV 1031* works], vol. 1. ed. Leonid Royzman. Moscow: Muzyka, 1968.

Tatiana Petrovna Nikolaeva (4 May 1924, Bezhitsa - 12 November 1993, San Francisco)

Soviet/Russian pianist, pedagogue and composer. Nikolaeva arrived in Moscow aged 13, entering the Moscow Central Music School. At her audition she included her own compositions. While a student of A. Goldenweiser at the Moscow Conservatory, during the

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Great Patriotic War she was evacuated to Saratov in 1942, temorarily studying with I. P. Klyachko. At her Moscow Conservatory graduation recital in 1947 Nikolaeva offered both volumes of the Well-Tempered Clavier. In 1950, the year of her postgraduate graduation, she won the first prize at the Bach competition in Leipzig. Two years prior to this she received a second prize at the First International Festival of Democratic Youth. In 1975-76 Nikolaeva, together with her students M. Petuhov, S. Senkov and M. Evseeva for the first time in Moscow performed the complete Bach concertos for one or multiple keyboards and orchestra. Nikolaeva referred to these concerts as events where: “my visions as a performer and pedagogue merged”. Nikolaeva’s repertoire included most of Bach’s keyboard works. She was noted for an outstanding memory, and had over 50 concertos in her repertoire. She also performed the music of her contemporaries D. Shostakovich, S. Prokofiev and G. Popov amongst others. In 1971 she was awarded the International Schumann Prize for promoting the works of Schumann. As a transcriber Nikolaeva has reworked a number of Bach works as well as Prokofiev’s Peter and the Wolf. Nikolaeva was also a composer, having written two piano concertos, and multiple works for solo piano including works for students and the Polyphonic Triad. Her composition teachers were B. N. Lyatoshinsky and V. Ya. Shebalin. Nikolaeva taught at the Moscow Conservatory from 1959, becoming a professor there in 1965. She gave masterclasses in cities such as Warsaw, Bonn, and Weimar. In December 1959 Nikolaeva performed in Australia (performing in Sydney, Melbourne and Brisbane amongst other places) and in New Zealand (performing in Auckland and Wellington). In 1953 Nikolaeva was elected to be a member of the Moscow Soviet, and became a member of the Soviet Committee for the Defence of Peace. Sources: Lev Grigoryevich Grigoryev, and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 245-246; Marina Sergeevna Yevseeva, “Muzyka I. S. Baha v ispolnenii Tatyany Nikolaevoy” [The music of J. S. Bach performed by Tatiana Nikolaeva], in Muzykal’noe Ispolnitelstvo. Odinnadtsatyy sbornik statey [Musical performance. The eleventh compilation of essays], ed. Vladimir Yuryevich Grigoryev and Vladimir Aleksandrovich Natanson. (Moscow: Muzyka, 1983), 211; Tatyana Nikolaeva, “Beseda s Tatyanoy Nikolayevoy” [Conversation with Tatiana Nikolaeva], in Muzykal’noye ispolnitel’stvo i sovremennost’ [Music performance and the modern time], ed. Vladimir Yuryevich Grigoryev. (Moscow: Moscow State Conservatory, 1997), 147-153; Tatyana Nikolaeva, “Na pyatom kontinente” [On the Fifth Continent], Sovetskaya Muzyka 6 (1960): 177-181; Yekaterina Lozbenyova, “Tatyana Nikolaeva: Zhizn’ vo imya muzyki” [Tatiana Nikolaeva: Life in the mame of music], Muzykant klassik [The classical musician] 9-10 (2007): 6-15; Gennadiy Tsypin, Portrety sovetskih pianistov [Portraits of Soviet pianists] (Moscow: Sovetskiy Kompozitor, 1982), 111-120; Tatyana Nikolaeva Petrovna, “Ispolnitel’ i kompozitor” [Performer and composer] Sovetskaya Muzyka 1 (1954), 52-53.

Transcription Publication records/information on where mention of work was found

Prelude and Fugue in G minor, Bach, Johann Sebastian and Tatiana Petrovna Nikolaeva. BWV 535* Organnaya prelyudiya i fuga sol’ minor. Organnaya fantaziya i fuga re minor [Organ prelude and fugue in G minor. Organ fantasie and fugue in D minor]. Moscow: Muzyka, 1988? Available at the Music Library named after Jurgenson, Moscow, Russia.

Toccata and Fugue in D minor, Bach, Johann Sebastian and Tatiana Petrovna Nikolaeva. BWV 565* Organnaya prelyudiya i fuga sol’ minor. Organnaya fantaziya i fuga re minor [Organ prelude and fugue in G minor. Organ fantasie and fugue in D minor]. Moscow:

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Muzyka, 1988? Available at the Music Library named after Jurgenson, Moscow, Russia.

Die Kunst der Fuge BWV The existence of this arrangement is mentioned in Grigoryev, 1080 Lev Grigoryevich and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 246. However no other confirmation of this was found.

Igor Vladimirovich Olovnikov (Belarus) (born 5 November 1954)

After graduating from the Special Music School of the Belarus Conservatory studying with I. Tsvetaeva he studied piano (with Y. Flier) and organ (with L. Royzman) at the Moscow Conservatory. Upon completing his postgraduate studies (with M. Voskresensky) Olovnikov returned to Minsk where he started working at the Philharmony and became a teacher at the Belarus Academy of Music. From 1993 he became a professor there. Olovnikov performs as a solo pianist, organist, and ensemble member. Olovnikov is the editor of a number of compilations of Belarusian piano works. He holds the title ‘People’s Artist of Belarus’ and is a laureate of the State Prize of Belarus. Olovnikov is the son of Belarusian composer Vladimir Olovnikov. Source: Belarus State Philharmony accessed 28 March 2019. https://philharmonic.by/ru/artists/olovnikov-igor-fortepiano-organ-klavesin.

Transcription Publication records/information on where mention of work was found

Kyrie, Et incarnatus, Score recorded in the online catalogue of the Belarusian State Crucifixus, Et resurrexit, Library. Agnus Dei, Dona Nobis from Mass BWV 232 Igor Vladimirovich Olovnikov, Kontsertnyye transkriptsyi dlya fortepiano [Concert transcriptions for piano], Minsk: Belarusian State Academy of Music, 2009. Storage code: 5H/1180(008).

Bourree, Rondo, Minuet, Partial performance available at Polonaise, Badinerie from https://youtu.be/oiBB3FniFmE accessed 9 March 2019. Orchestral Suite in B minor BWV 1067

Pavel Avgustovich Pabst (27 May 1854, Königsberg – 9 June 1897, Moscow)

Russian pianist, teacher and pedagogue of German heritage. Pabst studied in Vienna with A. Door. From 1878 Pabst taught at the Moscow Conservatory. Pabst’s students included K. Igumnov and A. Goldenweiser. Pabst was the author of a number of virtuosic paraphrases. He

184 was the brother of Louis Pabst, who was a respected German musician who lived for a period of time in Melbourne, Australia. Sources: Konstantin Nikolaevich Igumnov, and Mstislav Anatolyevich Smirnov. “O tvorcheskom puti i ispolnitel’skom iskusstve pianista. Iz besed s psihologami.” [On the creative path and the performing art of the pianist. From conversations with psychologists.], in Voprosy fortepiannogo ispolnitelnitel’stva. Ocherki. Statyi. [Questions of piano performance. Essays. Articles.], ed. Mikhail Georgievich Sokolov (Moscow: Muzyka, 1973), 25-46; “Herr Louis Pabst” in Table Talk (Melbourne: 22 September 1894): 9.

Transcription Publication records/information on where mention of work was found

Toccata and Fugue in G minor, Liszt, Franz. Fantaziya i fuga [Fantasie and fugue]. Moscow: BWV 542 (J. S. Bach/F. Gosizdat, Muzykal’nyy sektor, 1928. Liszt/P. Pabst)*

Toccata and Fugue in D minor, Bach, Johann Sebastian. Tokkata d-moll dlya organa v BWV 565 originale i v transkriptsyyah dlya fortepiano Karla Tausiga, Lui Brassena Paulya Pabsta i Ferruchcho Buzoni [Toccata in d minor for organ in the original and in transcriptions for piano by Carl Tausig, Louis Brassin, Paul Pabst and Ferruccio Busoni] in Shkola fortepiannoy transkriptsii [School of the piano transcription] vol. 1. ed. Grigory Kogan. Moscow: Muzyka, 1970.

Alexey Vasilyevich Parusinov (30 March 1882, Saratov - 21 May 1961, Moscow)

In 1910 Parusinov graduated from the Music and Drama College of the Moscow Philharmonic Society, studying composition with A. N. Koreschenko. From 1919 to 1932 he taught at the Mussorgsky Music College (tehnikum), from 1932 to 1941 at the Ippolitov-Ivanov Music College, and from 1943 - at the Central Music School of the Moscow Conservatory. Together with F. Myuller he was the author of a harmony exercise compilation published in 1953. He composed at least three operas, a violin concerto, a symphony and a numerous solo and ensemble works. Source: Author unknown, “Parusinov, Alexey Vasilyevich,” Bolshaya Biograficheskaya Enstyklopediya [Great Biographical Encyclopedia], 2009, accessed 28 March 2019, https://dic.academic.ru/dic.nsf/enc_biography/98846/Парусинов.

Transcription Publication records/information on where mention of work was found

Vivace and Allegro from Trio Manuscript available at the Russian National Music Museum Sonata No. 6 in G major, Archive BWV 530, transcribed for 2 pianos*

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Pastorale in F major, BWV Manuscript available at the Russian National Music Museum 590, transcribed for 2 pianos* Archive

Chorale Prelude Herr Christ, Manuscript most likely available at the Russian National der einig Gottes Sohn (I), Music Museum Archive BWV 601

Chorale Prelude Christum wir Manuscript most likely available at the Russian National sollen loben schon, BWV 611 Music Museum Archive

Chorale Prelude Dies sind die Manuscript most likely available at the Russian National heilgen zehn Gebot (I), BWV Music Museum Archive 635

Chorale Prelude Meine Seele Manuscript available at the Russian National Music Museum erhebet den Herren, BWV Archive 648*

Chorale Prelude Christ lag in Manuscript available at the Russian National Music Museum Todesbanden (II), BWV 718* Archive

Leo Podolsky (25 May 1894, Odessa - 1 October 1987, Los Angeles)

For biography see: Leo Podolsky, Khaki and Tails: the Autobiography of Dr Leo Podolsky (CA: TMR productions, 1977).

Transcription Publication records/information on where mention of work was found

Sicilienne from Sonata for Bach, Johann Sebastian, and Leo Podolsky. Siciliano: (from flute and keyboard No 2 in E the second sonata for harpsichord and flute): piano solo. flat major BWV 1031 Delware Water Gap, Pa: Shawnee Press, 1973. Available at McFarland Library and SBTS Library. NB. This score was not viewed for this study; reference taken from WorldCat.

Viktor Aleksandrovich Poltoratsky (2 April 1949, Tbilisi - 9 October 1985, Budapest)

Poltoratsky’s first piano teacher was his mother Tatiana Viktorovna Poltoratskaya. From the age of 5 he entered the Tbilisi Central Music School where he started studying violin with B. Chiaureli. At the age of 7 Poltoratsky transferred to the piano department, studying with Ye. V. Chernyavskaya as well as composition with A. Shaverzashvili. After a meeting with Kabalevsky he moved to study at the Central Music School in Moscow. From 1966 he enrolled

186 at the Moscow Conservatory, studying piano with T. Nikolaeva and composition with D. Kabalevsky. Poltoratsky’s significant contribution to composition includes the 24 Preludes and Fugues Op 16 and Op 17. Poltoratsky made over 100 arrangements. He died unexpectedly while on tour in Budapest, at the age of 36. Source: Viktor Poltoratsky, 24 Preludes and Fugues (Classical Records: 2012 CR-153), accessed 28 March 2019 from: http://www.classicalrecords.ru/carts/index.php?productID=186

Transcription Publication records/information on where mention of work was found

Organ Sonata No 1 in E flat Fortepyannye transkripstyi russkih i sovetskih kompozitorov. major, BWV 525.* Vypusk 6 [Piano transcriptions of Russian and Soviet composers. Volume 6]. Moscow: Muzyka, 1971.

Sergey Vasilievich Rachmaninov (1 April 1873, Semyonovo – 28 March 1943, Beverly Hills, USA)

Rachmaninov’s biography is well researched. Information in English is readily available and is therefore not provided here.

Transcription Publication records/information on where mention of work was found

Prelude, Gavotte, and Gigue Rachmaninov, Sergey Vasilyevich. Piano compositions. vol. from Partita for Solo Violin 2. London: Boosey & Hawkes, 2003. No. 3 in E major, BWV 1006*

Lev Nikolaevich Revutsky (Levko Revutsky) (20 February 1889, Irzhavets - 30 March 1977, Kiev)

Apart from music, in his youth at the Lysenko school, Revutsky was interested in photography and astronomy. In 1907 he commenced studying first physics and mathematics, and then law at the Kiev University. Simultaneously he studied piano at the Kiev Music College. From 1913 he studied at the Kiev Conservatory: composition with R. M. Gliere, and piano with G. K. Hodorovsky. He graduated from both the university and the conservatory in 1916, after which he served in the army (first being sent to the Riga Front). Upon returning he found a job as an arts instructor in Priluki. Revutsky held a number of teaching posts: from 1924 at the Kiev Lysenko Institute of Music and Drama (at this time he started to practice intensively again), from 1934 to 1960 at the Kiev Conservatory, and while in evacuation during WWII, in Tashkent. After the liberation of Kiev Revutsky actively sought to regain the contacts with various musicians who had ended up in various parts of the country due to the war. Revutsky led an active life in administration – he was a leader in the Ukrainian Composers’ Union and the USSR Composers’ Union, as well as an MP of the Supreme Soviet of Ukr.SSR. Revutsky was a prolific composer and created over 120 arrangements of folk songs, with over two thirds

187 of these arranged between 1924 and 1927. These were initially made upon the request of Revutsky’s brother, an art history lecturer, who asked him to make some arrangements for his lectures. After this there were numerous commissions from singers. Revutsky was awarded the titles Hero of Socialist Labour (1969), People’s Artist of USSR (1944), Stalin Prize (1941), Shevchenko State Prize of the Ukr.SSR (1966), Doctor of Arts (1941), Academic of the Academy of Sciences of the Ukr.SSR (1957).

Sources: Viktor L’vovich Klin, O muzyke [About music] (Kiev: Muzychna Ukraiina, 1985), 228-249.

Transcription Publication records/information on where mention of work was found

Fugue in D minor, BWV 539* Revutsky, Lev Nikolayevich. Polnoye sobraniye sochineniy [Compilation of complete works] ed. G. I. Maiboroda, vol.5. Kiev: Muzychna Ukraiina, 1988. Accessed from http://nlib.org.ua (5.03.2019)

Fantasia in C minor, BWV Revutsky, Lev Nikolayevich. Polnoye sobraniye sochineniy 562* [Compilation of complete works] ed. G. I. Maiboroda, vol.5. Kiev: Muzychna Ukraiina, 1988. Accessed from http://nlib.org.ua (5.03.2019)

Avrelian Grigoryevich Rubbah (1896-1976)

Rubbah graduated from the Moscow Conservatory studying with F. Blumenfeld, with whom he also completed the postgraduate course in 1930. From 1931 to 1941 he taught at the Moscow Conservatory and from 1943 to 1962 at the college affiliated with the Moscow Conservatory. Due to performance anxiety he stopped his performing career around the age of 34-35. Sources: Nataliya Georgiyevna Pankova, “O moih uchitelyah: Avrelian Grigoryevich Rubbah i Evgeny Vasilyevich Malinin” [About my teachers: Avrelian Grigoryevich Rubbah and Evgeny Vasilyevich Malinin], Obrazovaniye v sfere iskusstva 1 (1) (2013), 20-28.; S. Ya. Levit, “Nash Starik”: Alexander Goldenveyzer i Moskovskaya konservatoriya [“Our Old Man”: Alexander Goldenweiser and the Moscow Conservatory] (Moscow: Tsentr Gumanitarnyh Initsyativ, 2015), 170-171.; Maksim Konchalovsky, Sozvuchie [Co-sounding] (Dubna: Feniks, 2002).

Transcription Publication records/information on where mention of work was found

Prelude from Partita No 3 in E Bach, Johann Sebastian. Prelyudiya iz skripichnoy kantaty Major for Solo Violin BWV [...] Moscow: Muzgiz, 1960. Available at the Russian State 1006 Library. Codes: MZ Д 156/106, MZ Д 156/107, MZ Д 156/108

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Aria from Orchestral Suite No. Bach, Johann Sebastian. Aria. Moscow: Gosudarstvennoye 3 in D Major BWV 1068* Muzykal’noe Izdatelstvo, 1932. Available at the Russian State Library.

Sergey Yevgenyevich Senkov

Senkov graduated from the Moscow Conservatory where he studied with T. P. Nikolaeva, and from the Gnessin Institute postgraduate course, where he studied with T. D. Gutman. He became the prizewinner of the Leningrad All-Union Competition (1977) and of the 1st Rachmaninov All-Union Competition in Moscow (1983). Senkov is an Honoured Worker of Russian Higher Education, a professor and head of the piano faculty of the Gnessin Academy of Music, and the vice-president of the Scriabin Foundation. Senkov has been an active pedagogue since 1980: he has taught at the Gnessin Special Music School, the College affiliated with the Moscow Conservatory, the Gnessin Institute, the Royal Danish Academy of Music and the KBS-MEDIA Conservatory in Seoul.

Source: Sergey Senkov, Fortepiannye transkripsyi. Shedevry fortepiannoy transkriptsii. Vypusk 26 [Piano transcriptions Masterpieces of piano transcriptions. Volume 21] (Moscow: Deka-VS, 2018).

Transcription Publication records/information on where mention of work was found

Sarabande from Partita in D Sergey Senkov, Fortepiannye transkripsyi. Shedevry Minor BWV 1004* fortepiannoy transkriptsii. Vypusk 26 [Piano transcriptions Masterpieces of piano transcriptions. Volume 21] (Moscow: Deka-VS, 2018).

Alexander Ilyich Siloti (27 September 1863, Kharkov - 8 December 1945, New York)

Siloti’s biography is well researched. Information in English is readily available; see for instance Charles Barber, The Forgotten Musical Life of Alexander Siloti (Maryland: Scarecrow Press, 2002).

Transcription Publication records/information on where mention of work was found

Sinfonia from Cantata BWV Siloti, Alexander Ilyich. The Alexander Siloti collection: 29* editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

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Sinfonia from Cantata BWV Siloti’s manuscript accessed from the Russian State Archive 35 for piano solo* for Literature and Art.; Siloti, Alexander Ilyich. The Alexander Siloti collection: editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Sinfonia from Cantata BWV Siloti’s manuscript accessed from the Russian State Archive 35 for violin and piano* for Literature and Art.

Sacred Song Komm süsser Bach, Johann Sebastian and Alexander Siloti. Komm, süsser Tod, BWV 478 Tod: Sacred song, BWV 478. S. I.: Gutheil, c. 1923. Indicated in the catalogue of the Leeds College of Music Library.

Prelude in G minor, BWV 535 Bach, Johann Sebastian and Alexander Siloti. Prelude in G (from Theodor Szántó’s minor. New York: Carl Fischer, 1924. Accessed 23 March arrangement)* 2019, https://imslp.org/wiki/Special:ImagefromIndex/09629/nhaf.

Prelude in E minor, BWV 555 Bach, Johann Sebastian. Orgel-Praeludium [Em]. Moscow: Jurgenson, 1912. Record from Bach Bibliography http://www.qub.ac.uk/music-cgi/bach2.pl?23=49815 accessed 23/02/19

Toccata and Fugue in D minor, Siloti, Alexander Ilyich. The Alexander Siloti collection: BWV 565* editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Passacaglia in C minor, BWV Mentioned in Charles Barber, The Forgotten Musical Life of 582 Alexander Siloti (Maryland: Scarecrow Press, 2002), published M.S. no date. A “Passacaglia” by J. S. Bach was performed by Siloti in his piano concert on 4 November 1908 in the Small Hall of the St Petersburg Conservatory however it is not mentioned who the transcription was by. This is mentioned in Istoriya russkoy muzyki. Tom 10B. 1819-1917. Hronograf. Kniga 1. [History of Russian music. Volume ‘10B’. 1819-1917. Chronograph. Book 1]. Edited by E. Levashyov. Moscow: Yazyki slavyanskih kultur, 2011, 805.

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Organ Partita Ach, was soll ich Bach, Johann Sebastian. Izbrannye organnye proizvedeniya Sünder machen BWV 770* [Selected organ works]. Rostov-on-Don: Feniks, 2009. Available at the Russian State Library. Code MZ МЗ 43/250 and MZ МЗ 43/251

Chorale, Variations and This work has not been viewed for this dissertation; its record Prelude* exists on Bach Bibliography as Siloti, Alexander (arr). Kleine Stücke - Choral, Variationen, Präludium [Little Pieces - Chorale, Variations, Prelude]. Leipzig: Breitkopf und Härtel, 1900. Accessed on 24/03/19 from http://www.qub.ac.uk/music- cgi/bach2.pl?23=47797 This work could potentially be the same as the Organ Partita BWV 770.

Gigue from Partita No. 1 in B Siloti, Alexander Ilyich. The Alexander Siloti collection: flat major, BWV 825* editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Prelude in B minor for piano, Siloti, Alexander Ilyich. The Alexander Siloti collection: BWV 855a (transcribed from editions, transcriptions, and arrangements for piano solo. Prelude in E minor, WFN 18)* New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Paraphrase on Prelude No. 3 in Parafraza na prelyudiyu do-diez mazhor № 3 II I. S. Baha: C sharp major from WTC 2, dlya f-p v 2 ruki [Paraphrase on Prelude in C sharp major No BWV 872* 3 II of J. S. Bach: for piano 2 hands]. Moscow: Gosudarstvennoye Muzykal’noye Izadatel’stvo, 1921. Available at the Russian State Library, codes: MZ V 163/502, MZ V 163/507.

Chromatic Fantasia and Fugue Bach, Johann Sebastian. Hromaticheskaya fantaziya i fuga BWV 903 [Chromatic fantasy and fugue]. Moscow and Petrograd: Rossiyskoye Muzykal’noye Izdatel’stvo, 1916. Available at the Russian State Library. Code: MZ Я 316/348

Fantasia in C minor, BWV Siloti, Alexander Ilyich. The Alexander Siloti collection: 906/1 editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

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Italian Concerto in F major, Bach, Johann Sebastian. Italian Concerto in F major. New BWV 971, transcribed for 2 York: Carl Fischer, 1930. pianos* Accessed on 24/03/19 from https://imslp.org/wiki/Special:ImagefromIndex/11044/nhafj

Andante from Italian Concerto Mentioned in Charles Barber, The Forgotten Musical Life of in F major, BWV 971, Alexander Siloti (Maryland: Scarecrow Press, 2002), transcribed for piano 4 hands published M.S. no date.

Andante from Sonata for solo Siloti, Alexander Ilyich. Andante from Sonata for Violin Solo violin No. 2 in A minor, BWV in A minor. New York: C. Fischer, c.1900. Accessed on 1003* 23/03/19 from https://imslp.org/wiki/Special:ImagefromIndex/11040/nhafj Siloti, Alexander Ilyich. The Alexander Siloti collection: editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Chaconne from Partita for solo Siloti, Alexander. Chaconne. New York: Carl Fischer, 1924. violin No. 2 in D minor, BWV 1004 [arranged after F. Accessed on 23/03/19 from Busoni's Transcription and the https://www.piano.ru/scores/bach/bach-zil-chac.pdf; Also "Bach-Society" Edition]* available at the University of Sydney Library, Australian Institute of Music Library, and others, listed on http://www.worldcat.org/oclc/4709128 Accessed on 23/03/19.; Also available in Siloti, Alexander Ilyich. The Alexander Siloti collection: editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Violin Partita No 3 in E major Bach, Johann Sebastian and Siloti Alexander. Prelude pour BWV 1006 transcribed for violon (mi-maj). Moscow, Muzgiz, no date. Accessed on violin and piano* 24/03/19 from https://imslp.org/wiki/Special:ImagefromIndex/554860/nhafj

Prelude and Courante from Siloti, Alexander. Transcriptions for the Young. Leipzig: A. Suite for solo cello No. 1 in G Gutheil, 1925. major, BWV 1007*

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Prelude, Bourree, and Gigue Prelude and Bouree available in: Siloti, Alexander. from Suite for solo cello No. 3 Transcriptions for the Young. Leipzig: A. Gutheil, 1925. in C major, BWV 1009*

The Gigue is mentioned as a Gutheil publication on Bach Cantatas http://www.bach-cantatas.com/NVD/PT-Siloti.htm accessed 23/03/19

Prelude from Suite for solo Bach, Johann Sebastian. Prelude (from the Cello Suite in E cello No. 4 in E flat major, flat major). Arranged by A. Siloti. New York: C. Fischer, BWV 1010 1931.

Adagio from Violin Sonata Siloti, Alexander Ilyich. The Alexander Siloti collection: No. 5 in F minor, BWV 1018* editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Sicilienne from Flute Sonata Siloti, Alexander Ilyich. The Alexander Siloti collection: No 2, BWV 1031* editions, transcriptions, and arrangements for piano solo. New York: C. Fischer, 2003. Available library locations listed at http://www.worldcat.org/oclc/769984200 Accessed on 23/03/19.

Andante from Brandenburg Bach, Johann Sebastian. Andante from the Brandenburg Concerto No. 2 in F major, concerto no. 2, for orchestra. Transcribed for two pianos by BWV 1047, transcribed for 2 A. Siloti. New York: C. Fischer, 1927. Available at: pianos* https://imslp.org/wiki/Special:ImagefromIndex/11041/nhafj Accessed 23/03/19 Also indicated in the catalogue of the University of Toronto Music Library.

Andante from Concerto for 2 Mentioned in Charles Barber, The Forgotten Musical Life of harpsichords, strings and Alexander Siloti (Maryland: Scarecrow Press, 2002) as being continuo No. 3 in C minor, in a c. 1927 publication by C. Fischer. BWV 1062, transcribed for 2 pianos

Air from the Orchestral Suite Bach, Johann Sebastian. Air. New York: Carl Fischer, 1927. No.3 In D major, BWV 1068, Available at transcribed for piano* https://imslp.org/wiki/Special:ImagefromIndex/09510/nhafj Accessed 14/03/19

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Konstantin Stepanovich Sorokin (11 January 1909, Levada, Podolsk region - unknown)

In 1929 Sorokin graduated from the Kiev Lysenko Music and Drama Institute studying piano with K. N. Mihaylov, then from the Moscow Conservatory in 1934 (studying with K. N. Igumnov). From 1937 to 1939 he taught at the Kiev Music College. Returning to the Moscow Conservatory, he completed its postgraduate course in 1945 (again studying with K. N. Igumnov). In 1947 he graduated from the composition course having studied with A. N. Aleksandrov. From 1953 to 1956 he taught at the Music College affiliated with the Moscow Conservatory. From 1945 to 1969 he was the leading editor and then the head of the piano music segment of Muzyka publishing. Sorokin composed a wide variety of works including concertos, a cycle of 24 preludes and fugues and multiple orchestral and instrumental and vocal pieces. He is the author of many piano transcriptions of composers including J. S. Bach, A. Corelli, R. M. Gliere N. Ya. Myaskovsky, P. I. Tchaikovsky, amongst others.

Source: Author unknown, “Sorokin, Konstantin Stepanovich,” Bolshaya Biograficheskaya Entsyklopediya [Great Biographical Encyclopedia], 2009, accessed 28 March 2019, https://dic.academic.ru/dic.nsf/enc_biography/115472/Сорокин

Transcription Publication records/information on where mention of work was found

Brandenburg Concerto No. 2 Bach, Johann Sebastian. Brandenburgskiy kontsert № 2 in F major BWV 1047* [Brandenburg Concerto No 2]. Moscow: Muzgiz, 1961. Available at the Russian State Library. Codes: MZ Д 166/251, MZ Д 166/252, MZ Д 166/253

Yuriy Nikolaevich Tyulin (26 December 1893, Reval - May 8 1978, Moscow)

An English biography for Tyulin is available at: Abraham I. Klimovsky, “Tyulin, Yury Nikolayevich,” Grove Music Online, 20 January 2001, https://doi.org/10.1093/gmo/9781561592630.article.28679

Transcription Publication records/information on where mention of work was found

Brandenburg Concerto No. 1 Bach, Johann Sebastian. Brandenburgskiy kontsert № 1 in F major BWV 1046* [Brandenburg Concerto No 1]. Moscow: Muzgiz, 1961. Available at the Russian State Library. Codes: MZ Д 166/351, MZ Д 166/352, MZ Д 166/353 The Adagio from this concerto is also available for online viewing from the Russian State Library: https://search.rsl.ru/ru/view/01004470407?redirect=http%3A %2F%2Fdlib.rsl.ru%2Frsl01004000000%2Frsl01004470000 %2Frsl01004470407%2Frsl01004470407.pdf

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Accessed on 24/03/19. This edition is Bach, Johann Sebastian. Brandenburgskiye kontserty №№ 1046-1047. Arranged by Y. N. Tyulin, edited by M. Yudina. Leningrad: Triton, 1932.

Brandenburg Concerto No. 2 Bach, Johann Sebastian. Brandenburgskiye kontserty №№ in F major BWV 1047 (at least 1046-1047. Arranged by Y. N. Tyulin, edited by M. Yudina. the Andante)* Leningrad: Triton, 1932. Available at the Russian State Library. Codes: MZ S 65/388, MZ S 65/389. This edition is also available for free online viewing from the Russian State Library: https://search.rsl.ru/ru/view/01004470407?redirect=http%3A %2F%2Fdlib.rsl.ru%2Frsl01004000000%2Frsl01004470000 %2Frsl01004470407%2Frsl01004470407.pdf Accessed on 24 March 2019.

Also found in Fortepyannye transkriptsyyi russkih i sovetskih kompozitorov. Vypusk 4 [Piano transcriptions of Russian and Soviet composers. Volume 4]. ed. Leonid Royzman. Moscow: Muzyka, 1966.

Anatoly Ivanovich Vedernikov (3 May 1920, Harbin - 29 July 1993, Klyaz’ma)

The son of a sales worker, Vedernikov grew up in Harbin, China. In 1933 he finished his studies at Harbin’s Highest School of Music. Thereafter he concertised in China and Japan before moving to Russia in 1936. Vedernikov graduated from the Moscow Conservatory in 1943, having studied there with Heinrich Neuhaus. Within his repertoire the works of Bach (six partitas, two French suites, six English suites, the Italian Concerto, a number of Preludes and Fugues, Concerto in D minor, two double concertos, selected transcriptions), W. A. Mozart, R. Schumann and C. Debussy are said to have held an important place. He also acquainted the Soviet public with the works of P. Hindemith, A. Schoenberg, B. Bartok, K. Szymanovski, B. Martinu, and P. Vladigerov. Vedernikov performed the Soviet premiere of S. Prokofiev’s Piano Concerto No 4 and premiered a number of Soviet works including those by G. Ustvol’skaya, N. Sidel’nikov, G. Sviridov, and G. Frid. Vedernikov’s transcriptions include the Scherzo from Prokofiev’s Symphony No 5. Vedernikov had performed in a duo with S. Richter, with repertoire including works of J. S. Bach. His interest in the works of Bach also expanded to collaborating on a Bach program with the singer V. Ivanova. From 1963 he gave concerts in the socialist countries; however in 1980 he also played in Italy and Scotland, and then in the Federal Republic of Germany and Finland. From 1958 Vedernikov taught at the Gnessin Institute, becoming an associate professor there in 1963. From 1980 he started teaching at the Moscow Conservatory and obtained a professorship there in 1985. In 1983 he was awarded the title of ‘Honoured Artist of the RSFSR’. At the end of the 1930s Vedernikov’s parents were arrested; his father was shot, and his mother received an 8-year imprisonment sentence. During World War II Vedernikov married Olga Gekker. They had a son who became a painter. Vedernikov passed away in his holiday

195 house after a long illness. The Japanese label Denon has posthumously released a collection of his recordings on a CD series. Sources: Lev Grigoryevich Grigoryev, and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 71-72; Keldysh, Yuriy Vsedolovich. “Iz kontsertnyh zalov” [From the concert halls], Sovetskaya muzyka 12 (1958): 92-105; Igor’ Vladimirovich Karpinsky, “Anatoly Vedernikov ispolnyaet Baha” [Anatoly Vedernikov performs Bach], in Tvorchestvo, kontseptsiyi, shkoly: deyatel’nost’ professorov Moskovskoy konservatorii [Creativity, conceptions, schools: activity of the Moscow Conservatory professors], ed. Sergey Vladimirovich Grohotov. (Moscow: Moskovskaya konservatoriya, 2008), 76-77; Author unknown, “Vedernikov, Anatoly Ivanovich” in Krugosvet Encyclopedia, accessed 25 March 2019, https://www.krugosvet.ru/enc/kultura_i_obrazovanie/muzyka/VEDERNIKOV_ANATOLI_IVANOVICH.html

Transcription Publication records/information on where mention of work was found

Chorale Prelude Puer natus in Recording available on Anatoly Vedernikov. J. S. Bach. Bethlehem, BWV 603 Recorded in 1970, released in 1994. Denon label - COCQ- 83651

Chorale Prelude In dulci Recording available on Anatoly Vedernikov. J. S. Bach. jubilo, BWV 608 Recorded in 1970, released in 1994. Denon label - COCQ- 83651

Chorale Prelude Wenn wir in Recording available on Anatoly Vedernikov. J. S. Bach. höchsten Nöten sein, BWV Recorded in 1970, released in 1994. Denon label - COCQ- 641 83651

Chorale Prelude Alle Recording available on Anatoly Vedernikov. J. S. Bach. Menschen müssen sterben (I), Recorded in 1970, released in 1994. Denon label - COCQ- BWV 643 83651

Chorale Prelude Wachet auf, Recording available on Anatoly Vedernikov. J. S. Bach. ruft uns die Stimme, BWV 645 Recorded in 1970, released in 1994. Denon label - COCQ- 83651

Chorale Prelude Nun komm' Recording available on Anatoly Vedernikov. J. S. Bach. der Heiden Heiland (II), BWV Recorded in 1970, released in 1994. Denon label - COCQ- 659 83651

Chorale Prelude Nun freut Recording available on Anatoly Vedernikov. J. S. Bach. euch, lieben Christen, BWV Recorded in 1970, released in 1994. Denon label - COCQ- 734 83651

Brandenburg Concerto No. 3 Johann Sebastian Bach. Brandenburgskiy kontsert № 3 in G major, BWV 1048* [Brandenburg Concerto No 4]. Moscow: Gosudarstvennoye muzykal’noe izdatel’stvo, 1960. Available at the Russian

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State Library. Codes: MZ Д 160/1081, MZ Д 160/1082, MZ Д 160/1083.

Brandenburg Concerto No. 4 Johann Sebastian Bach. Brandenburgskiy kontsert № 4 in G major, BWV 1049* [Brandenburg Concerto No 4]. Moscow: Gosudarstvennoye muzykal’noe izdatel’stvo, 1960. Available at the Russian State Library. Codes: MZ Д 160/1090, MZ Д 160/1091, MZ Д 160/1092.

Brandenburg Concerto No. 6 Johann Sebastian Bach. Brandenburgskiy kontsert № 6 in B flat major, BWV 1051* [Brandenburg Concerto No 6]. Moscow: Gosudarstvennoye muzykal’noe izdatel’stvo, 1960. Available at the Russian State Library. Codes: MZ Д 161/789, MZ Д 161/790, MZ Д 161/791.

Nikolay Yakovlevich Vygodsky (21 March 1900, St Petersburg - 1939)

In 1920 Vygodsky graduated from the Tbilisi Conservatory, having studied piano with I. S. Aisberg. From 1924 he was a student at the Moscow Conservatory, studying organ with A. Goedicke, and part of the Music research division where he studied composition and conducting. Vygodsky was a member of the RAPM [Russian Association of Proletarian Musicians]. From 1924 he started teaching, becoming an associate professor in 1932, teaching general piano, organ and score reading. From 1930 Vygodsky also headed the segment for student-pedagogical literature of Muzgiz publishing. As a transcriber he not only arranged organ pieces for piano but also orchestral works (for example of Soviet composers like V. A. Belyy and B. S. Shehter) for organ. In a review of an organ concert performed by Vygodsky on 15 May 1928 K. Grimih noted that Vygodsky’s program included an organ arrangement of ‘Bach’s Aria’. It is therefore possible that Vygodsky had also transcribed the Air from Orchestral Suite No 3 for organ, not only for piano. Vygodsky was arrested and died in imprisonment. V. F. Fyodorov has reminisced that the imprisoned singer L. F. Privalov was sometimes accompanied by Vygodsky in his camp concerts. A detailed archive of Vygodsky’s manuscripts, bibliographic information, articles and letters are kept at the Russian State Archive of Literature and the Arts, storage number 2366 http://www.rgali.ru/obj/10465783

Sources: K. Grimih, “Kontsert organista K. Ya. Vygodskogo” [Concert of the organist N. Ya. Vygodsky], Muzyka i revolyutsyya 5-6 (1928): 48; Valentin Ferman, “Kontsert organista N. Ya. Vygodskogo” [Concert of the organist N. Ya. Vygodsky], Muzykal’noye obrazovaniye 3 (1928): 50-51; A. A. Soshina, Tvorcheskaya inteligentsyya na Solovkah [Creative intelligentsyya on Solovki], accessed 26 March 2019 from http://solovki- monastyr.ru/abbey/soviet-period/slon/401/#41; Author unknown, “Vygosky Nikolay Yakovlevich,” in Bolshaya biograficheskaya entsyklopediya, 2009, accessed 26 March 2019, https://dic.academic.ru/dic.nsf/enc_biography/Выгодский

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Transcription Publication records/information on where mention of work was found

Kyrie No. 1 from Mass in B Bach, Johann Sebastian. Vstuplenie iz pervogo nomera messy minor BWV 232 si minor [Introduction from the first number of Mass in B minor]. Moscow: Gosudarstvennoye Muzykal’noye Izdaniye, 1934. Available at the Russian State Library. Codes: MZ S 69/1051, MZ S 69/1052.

Orchestral Suite No. 2 in B Bach, Johann Sebastian. Orkestrovaya syuita № 2 minor, BWV 1067* [Orchestral Suite No 2]. Moscow: Gosudarstvennoye Muzykal’noye Izdaniye, 1934. Accessed from the Russian State Library. Codes: MZ S 69/702, MZ S 69/703.

Air from Orchestral Suite No. Bach, Johann Sebastian. Ariya iz orkestrovoy syuity № 3 3 in D major, BWV 1068* [Aria from Orchestral Suite No 3]. Gosudarstvennoye Muzykal’noye Izdaniye, 1933. Accessed from the Russian State Library. Codes: MZ S 71/528. MZ S 71/529.

Sergey Yushkevich (Serguei Iuchkevitch) (born 12 January 1953, Kharkov) (Ukraine)

Ukrainian pianist. In the 1975 Queen Elisabeth Competition Yushkevich was awarded 5th prize. Yushkevich is an associate professor at the Kharkiv Kotlyarevsky National Arts University. He is an Honoured Artist of Ukraine. Yushkevich is also an international grand master in checkers, and has twice been the champion of the USSR. Sources: Kharkiv Kotlyarevsky National Arts University website accessed 28 March 2019, http://num.kharkiv.ua/structure/faculties/performing-musicology/special-piano; News article (online resource): http://russian-bazaar.com/ru/content/11684.htm accessed on 28 March 2019.

Transcription Publication records/information on where mention of work was found

Rondo and Badinerie from Recordings available on https://classic- Orchestral Suite No 2 in B online.ru/ru/composer/Yushkevitch/33926 minor BWV 1067 However, here it is not specified if the Rondo is Yushkevich’s own transcription. An online performance of the Badinerie by Alexander Romanovsky is available at https://youtu.be/80jDmfDI1Sg (accessed 28 March 2019) which specifies that this is Yushkevich’s transcription.

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Air from Orchestral Suite No. Recording available on https://classic- 3 in D major, BWV 1068 online.ru/ru/composer/Yushkevitch/33926 However, here it is not specified if the Aria is Yushkevich’s own transcription, so this is not verified.

Igor Zhukov (31 July 1936, Gor’kiy – 26 January 2018, Moscow)

At the Moscow Conservatory Zhukov studied first with E. Gilels and then with H. Neuhaus. Zhukov’s active concertising career began after winning second prize in the Long-Thibaud Competition in 1957. His concert tours took him to many European countries, the USA, Hong Kong, Japan and Malaysia. Apart from ‘standard’ piano works ranging from Bach to Shostakovich, Zhukov’s repertoire included all three of Tchaikovsky’s concertos, as well as Rimsky-Korsakov’s concerto, and the music of N. Myaskovsky, Ya. Ivanov, Ya. Koh, F. Poulenc, S. Barber. In 1972 Zhukov became the first Soviet pianist to record the complete Scriabin sonatas. He has also played in a trio with G. Feigin and F. Feigin. Zhukov also took up conducting. From 1978 he conducted the chamber orchestra of Ulyanovsk. In 1983 he founded the New Moscow Chamber Orchestra, the repertoire of which ranged from works of C. P. E. Bach to Stravinsky. From 2004 to 2008 Zhukov was the principal conductor of the municipal chamber orchestra of Nizhny Novgorod ‘Soloists of Nizhny Novgorod’. The latter orchestra’s website is now compiling an accessible collection of his recordings. Sources: Igor Mihaylovich Zhukov, accessed 25 March 2019, https://solistynn.ru/personalii/dirizhyory/igor- mihailovich-zhukov/; Igor Zhukov: Obituary, accessed 25 March 2019, http://www.scriabin-association.com/igor- zhukov-obituary/; Lev Grigoryevich Grigoryev, and Yakov Moiseevich Platek, Sovremennye pianisty [Contemporary pianists] (Moscow: Sovetskiy Kompozitor, 1989), 140-141.

Transcription Publication records/information on where mention of work was found

Passacaglia in C minor, BWV Recorded on vinyl: 582 Igor Zhukov, Melodiya, 1966, 33Д—018845, ГОСТ 5289-61

Toccata and Fugue in D minor Recording available at https://classic- BWV 565, Bach-Tausig- online.ru/ru/production/531 Zhukov Otherwise not verified.

Sergey Zhukov (born 30 August 1951, Zhytomir)

A biography of Zhukov is available on the Bach Cantatas website, with information corresponding to that presented on Sergey Zhukov’s personal website. Aryeh Oron, Bach Cantatas, accessed 28 March 2019, http://www.bach- cantatas.com/Lib/Zhukov-Sergey.htm.; Sergey Zhukov, accessed 28 March 2019, http://www.zhukovsergey.ru/rus/biografia.htm.

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Transcription Publication records/information on where mention of work was found

Passacaglia in C minor, BWV Mentioned on Bach Cantatas website. Aryeh Oron, 582 http://www.bach-cantatas.com/Lib/Zhukov-Sergey.htm Accessed 28 March 2019. Otherwise not verified.

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———. Bach-Gesellschaft Ausgabe, Band 25.2. Leipzig: Breitkopf und Härtel, 1878. Accessed 6 April 2019. https://imslp.org/wiki/Special:ImagefromIndex/549879/nhafj.

———. Bach-Gesellschaft Ausgabe, Band 27, edited by Alfred Dörffel. Leipzig: Breitkopf und Härtel, 1879.

———. Bach-Gesellschaft Ausgabe, Band 38. Leipzig: Breitkopf und Härtel, 1891.

———. Bach-Gesellschaft Ausgabe, Band 42. Leipzig: Breitkopf und Härtel, 1894).

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———. Neue Bach-Ausgabe, Serie VI. Kammermusik. Band 1: Werke für Violine. Kassel: Bärenreiter Verlag, 1958.

———. Prelude and Fugue in G minor; Bach Gesellschaft Ausgabe. Volume 15. Leipzig: Breitkopf und Härtel, 1867. Accessed 6 April 2019. http://ks4.imslp.info/files/imglnks/usimg/c/c0/IMSLP01320-BWV0535.pdf.

———. Wilhelm Kempff Bach Transcriptions for Piano. Berlin, Bote & Bock, 1998.

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——— and Tatiana Petrovna Nikolaeva. Organnaya prelyudiya i fuga sol’ minor. Organnaya fantaziya i fuga re minor [Organ prelude and fugue in G minor. Organ fantasie and fugue in D minor]. Moscow: Muzyka, 1988. Drozdov, Anatoly. Perelozheniya i obrabotki dlya fortepiano. Organnaya prelyudiya g-moll [Piano transcriptions and reworkings. Organ prelude g minor]. Moscow: Gosudarstvennoye izdatel’stvo, muzykal’nyy sektor, 1927. Gedike, Alexander. Chetyre oktavnyh etyuda [Four octave etudes]. Moscow: Jurgenson, no date). Accessed 6 April 2019. https://imslp.org/wiki/Special:ImagefromIndex/353198/nhafj. Ioheles, Alexander L’vovich. Kontsertnye obrabotki dlya fortepiano solo proizvedeniy I. S. Baha, R. Shumana, S. V. Rahmaninova. Shedevry fortepiannoy transkriptsii. Vypusk 21 [Concert arrangements for piano solo of works by J. S. Bach, R. Schumann, S. V. Rachmaninov. Masterpieces of piano transcriptions. Volume 21]. Moscow: Deka-VS, 2012.

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