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A Comparison of the Anna Magdalena Bach Manuscript and John W City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-6-2021 Lost in Translation? A Comparison of the Anna Magdalena Bach Manuscript and John W. Duarte Arrangement of Cello Suite No. 3, BWV 1009 by Johann Sebastian Bach Benjamin Riley CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/698 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Lost in Translation? A Comparison of the Anna Magdalena Bach Manuscript and John W. Duarte Arrangement of Cello Suite No. 3, BWV 1009 by Johann Sebastian Bach by Benjamin Riley Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory, Hunter College The City University of New York 2021 04/13/2021 Dr. L. Poundie Burstein Date Thesis Sponsor 04/13/2021 Dr. Michele Cabrini Date Second Reader i Dedication To my mother, Dr. Gina Riley, for her unconditional love, guidance, honesty, encouragement, and for teaching me by example the importance of hard work, perseverance, and seeing possibilities where others see limitations. ii Acknowledgements I would like to thank Professors L. Poundie Burstein and Michele Cabrini for their excellent teaching and invaluable advice throughout my studies at Hunter College, and for their assistance in reviewing this project. Additionally, I would also like to thank Professor Glenn Sparks, my undergraduate guitar Professor at Nyack College, who first introduced me to John W. Duarte’s arrangement of BWV 1009 and furthered my interest in the classical guitar and its music. iii Table of Contents List of Figures ................................................................................................................................. v List of Tables ............................................................................................................................... viii Chapter 1: Introduction ................................................................................................................... 1 Introduction ......................................................................................................................... 1 Overview of Cello Suites, BWV 1007 – BWV 1012 ......................................................... 2 John W. Duarte and His Arrangement...............................................................................13 Musical Adaptation ........................................................................................................... 16 Transcriptions, Arrangements, and Orchestrations of Bach’s Works ............................... 18 Transcriptions and Arrangements for Guitar .................................................................... 20 Bach’s Arrangements of His Own Works for Lute or Related Instruments ..................... 22 Literature Review .............................................................................................................. 23 Summary ........................................................................................................................... 26 Chapter 2: Methods ....................................................................................................................... 29 Analysis of Cello Suite No. 3, BWV 1009 ....................................................................... 29 Data analysis of John W. Duarte’s arrangement of BWV 1009 ....................................... 35 Added and Removed Notes .............................................................................................. 40 Added and Removed Slurs ................................................................................................ 58 Differences in Note Durations and Octave Spacings ........................................................ 61 Summary ........................................................................................................................... 70 Chapter 3: Discography of Duarte's Arrangement of BWV 1009 ................................................ 74 Discography of Duarte’s Arrangement of BWV 1009 ..................................................... 74 Four Major Recordings of Duarte’s Arrangement of BWV 1009 .................................... 75 Other Recordings of Duarte’s Arrangement of BWV 1009 ............................................. 88 iv Summary ........................................................................................................................... 90 Conclusion ........................................................................................................................ 92 References ..................................................................................................................................... 95 v List of Figures Figure 1.1: Johann Peter Kellner Manuscript, Prelude, Cello Suite No. 1, BWV 1007, mm. 1–42. ......................................................................................................................................................... 4 Figure 1.2: Anna Magdalena Bach Manuscript (hereafter known as Bach’s original), Prelude, Cello Suite No. 1, BWV 1007, mm. 1–36...................................................................................... 6 Figure 1.3: Source C, Prelude, Cello Suite No. 1, BWV 1007, mm. 1–42. ................................... 7 Figure 1.4: Source D, Prelude, Cello Suite No. 1, BWV 1007, mm. 1–42................................... 9 Figure 1.5: Cello Suite No. 1, BWV 1007: Prelude, mm. 1–6. Transcribed for Violin by Ferdinand David. ........................................................................................................................... 11 Figure 1.6: Cello Suite No. 1, BWV 1007: Prelude, mm. 1-2. Transcribed for Flute by Hideo Kamioka. ....................................................................................................................................... 11 Figure 1.7: Cello Suite No. 1, BWV 1007: Prelude, mm. 1–7. Transcribed for Low C Bass Clarinet by Frédéric Boulanger. .................................................................................................... 11 Figure 1.8: Cello Suite No. 1, BWV 1007: Prelude, mm. 1–4. Transcribed for Trumpet by Jay Lichtmann..................................................................................................................................... 12 Figure 1.9: Cello Suite No. 1, BWV 1007: Prelude, mm. 1–4. Transcribed for Ukulele by Thomas Preece............................................................................................................................... 12 Figure 1.10: Cello Suite No. 1, BWV 1009: Prelude, mm 1–4. Arranged for Cello and Piano Accompaniment by Robert Schumann.......................................................................................... 13 Figure 1.11: Cello Suite No. 1, BWV 1007: Prelude, mm 1–2. Arranged for piano by Joachim Raff................................................................................................................................................ 13 Figure 1.12: Cello Suite No. 3, BWV 1009: Sarabande, mm. 1– 4.............................................. 14 Figure 2.1: Cello Suite No. 3, BWV 1009: Sarabande, mm. 21–22 ............................................ 31 Figure 2.2: Cello Suite No. 3, BWV 1009: Bourrée II, mm. 22–24............................................. 33 Figure 2.3: Cello Suite No. 3, BWV 1009: Gigue. (a) mm. 37–54. (b) mm. 91–109.................. 34 Figure 2.4: Cello Suite No. 3, BWV 1009: Prelude, m. 1............................................................ 36 Figure 2.5: Cello Suite No. 3, BWV 1009: Sarabande, m. 7–8..... .............................................. 36 Figure 2.6: Cello Suite No. 3, BWV 1009: Prelude, m. 77.......................................................... 37 Figure 2.7: Cello Suite No. 3, BWV 1009: Prelude, m. 33.......................................................... 37 vi Figure 2.8: Cello Suite No. 3, BWV 1009: Courante, m. 2.. ....................................................... 38 Figure 2.9: Cello Suite No. 3, BWV 1009: Prelude, m. 45.......................................................... 38 Figure 2.10: Cello Suite No. 3, BWV 1009: Prelude, m. 2.......................................................... 41 Figure 2.11: Cello Suite No. 3, BWV 1009: Bourrée I, m. 13..................................................... 41 Figure 2.12: Cello Suite No. 3, BWV 1009: Bourrée II, m. 1..................................................... 42 Figure 2.13: Cello Suite No. 3, BWV 1009: Courante, m. 40..................................................... 43 Figure 2.14: Cello Suite No. 3, BWV 1009: Prelude, m. 87........................................................ 44 Figure 2.15: Cello Suite No. 3, BWV 1009: Sarabande, m. 1 ..................................................... 45 Figure 2.16: Cello Suite No. 3, BWV 1009: Bourrée II, m. 10................................................... 45 Figure 2.17: Cello Suite No. 3, BWV 1009: Allemande, mm. 1–2............................................. 47 Figure 2.18: Cello Suite No. 3, BWV 1009: Allemande, m. 12.................................................. 48 Figure 2.19: Cello Suite No. 3, BWV 1009: Allemande, m. 12, beat 2...................................... 50 Figure 2.20: Cello Suite No. 3,
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