Abstract
The article deals with the editions of the Sixth Suite for solo cello by Johann Sebastian Bach, their similarity and distinction, peculiarities of interpretation, dynamic gradations, stroke and fingering variations. It presents the historical context of creation, connected with the composer’s invention of a new five-string instrument, the viola pomposa. The center of attention is given to viola versions of the work by M. Kuperman, Yu. Kramarov, Br. Jurann, S. Rowland-Jones. Particular emphasis is placed on the popular among performers version by Fritz Spindler. The main stages of his creative activity are highlighted, the author’s sources are indicated, and the directions of the research are defined.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
