Göttweig Suite 10
Alternative readings of the text of the complete Gottweig edition
Jan 31, 2017
Like Suite 11, I find this suite a succession of musically unrelated movements, rather than an integral musical work like Suite 3, 7, and some others. For me 4 minuets and a rondeau do not make a musical work, not a suite, nor partita, nor anything. In my view these movements are together because they are in F in the F tuning, in a manuscript structured around keys and tunings.
In the Critical report for these movements, page 93 of vol. 2, the editor says that “the scordatura accidentals lack the # as a natural symbol on the b, it has been added.” This below the staff # for sounding e natural on the c’ string is actually in all systems of the vda part except the first one.
Bar 9, basso. In the manuscript the quarter rest might also be read as a dot, for a dotted half note c’.
Bar 12 and 14 basso. in the Manuscript there are #’s over the first notes of these bars, the only figures in the movement.
Bar 13 basso in the manuscript the b at the end of the bar is natural.
Bar 2 and bar 10 basso, the first note is a quarter c’. The rondeau tune is harmonized differently when it returns at bar 40, the player may want to decide which version she perfers.
bar 6 vda, there is no slur in the manuscript.
Bar 15 basso there is a fermata above the f, which is tied to the next bar. in the basso the bar line between 15 and 16 has fermatas above and below it, indicating the end of a movement. These are missing in the vda part.
Bar 17, bar 56, and bar 81, vda. The way I read the manuscript, it could be that these bars are to be slurred by 3s.
Bar 42 basso, in the manuscript the c might be tied over to the next bar, parallel to bar 50.
bar 33 vda The solution in the edition is a good one, but what it says in the manuscript is 3 quarter notes, e f f.