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Nội dung được cung cấp bởi Evan Shinners. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Evan Shinners hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
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The Urtext Illusion: Textual Variance in Bach's "Aria Variata" BWV 989

54:12
 
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Manage episode 447849109 series 2964306
Nội dung được cung cấp bởi Evan Shinners. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Evan Shinners hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.

Last week I posted this piece on YouTube:

The most intriguing part of studying this piece was the overwhelming amount of differences between the three earliest sources of this work. Here is a list of the sources I reference in the episode , the copyists, and when they were made:

The ‘Andreas Bach Book’ (D-LE III.8.4) J. Christoph Bach; copyist, between 1705-1714

P 801 J. Tobias Krebs; copyist, between 1710-1717

P 804 J. Peter Kellner; copyist, before 1725

In the episode I simply refer to these as Andreas Bach, Krebs, and Kellner.

You will hear a great amount of textual variation between these sources. Part of any performer’s job of playing music from Bach’s era includes combing through sources, determining how and why certain discrepancies appear. In the Aria Variata, however, the discrepancies are inconsistent— and perplexing.

My current understanding of source tradition hasn’t led me to any conclusion, but were I bold enough to take a stab, I’d guess Andreas Bach is the most accurate source, Kellner made a very sloppy copy from which Krebs copied. Kellner’s copy is full of corrections, but these were probably entered at a later date, and Krebs didn’t get the memo. A taste of what this looks like:

That is Kellner’s copy. Notice the ornaments. Compare to Krebs:

Both have an E-flat in on the downbeat of the third bar (all three sources in this episode use soprano clef on top). Now here is Andreas Bach:

D-sharp in bar three! Also, the ornamentation is fuller.

There are many other details in the episode, so please, enjoy! Here are more images to stimulate your fancy:

Krebs’ wavy hand.

Kellner making mistakes, corrected by— whom? Kellner himself?

The baffling passage in variation 4 in Andreas Bach. Notice what look like erasures on some of the notes.

How To Support This Podcast:

Become a paid subscriber! at wtfbach.substack.com or donate using any of these links:

https://www.paypal.me/wtfbach

https://venmo.com/wtfbach


Get full access to WTF Bach at wtfbach.substack.com/subscribe
  continue reading

81 tập

Artwork
iconChia sẻ
 
Manage episode 447849109 series 2964306
Nội dung được cung cấp bởi Evan Shinners. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được Evan Shinners hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.

Last week I posted this piece on YouTube:

The most intriguing part of studying this piece was the overwhelming amount of differences between the three earliest sources of this work. Here is a list of the sources I reference in the episode , the copyists, and when they were made:

The ‘Andreas Bach Book’ (D-LE III.8.4) J. Christoph Bach; copyist, between 1705-1714

P 801 J. Tobias Krebs; copyist, between 1710-1717

P 804 J. Peter Kellner; copyist, before 1725

In the episode I simply refer to these as Andreas Bach, Krebs, and Kellner.

You will hear a great amount of textual variation between these sources. Part of any performer’s job of playing music from Bach’s era includes combing through sources, determining how and why certain discrepancies appear. In the Aria Variata, however, the discrepancies are inconsistent— and perplexing.

My current understanding of source tradition hasn’t led me to any conclusion, but were I bold enough to take a stab, I’d guess Andreas Bach is the most accurate source, Kellner made a very sloppy copy from which Krebs copied. Kellner’s copy is full of corrections, but these were probably entered at a later date, and Krebs didn’t get the memo. A taste of what this looks like:

That is Kellner’s copy. Notice the ornaments. Compare to Krebs:

Both have an E-flat in on the downbeat of the third bar (all three sources in this episode use soprano clef on top). Now here is Andreas Bach:

D-sharp in bar three! Also, the ornamentation is fuller.

There are many other details in the episode, so please, enjoy! Here are more images to stimulate your fancy:

Krebs’ wavy hand.

Kellner making mistakes, corrected by— whom? Kellner himself?

The baffling passage in variation 4 in Andreas Bach. Notice what look like erasures on some of the notes.

How To Support This Podcast:

Become a paid subscriber! at wtfbach.substack.com or donate using any of these links:

https://www.paypal.me/wtfbach

https://venmo.com/wtfbach


Get full access to WTF Bach at wtfbach.substack.com/subscribe
  continue reading

81 tập

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