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). ii 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. iii 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. iv 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. v 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.