Göttweig Suite 10
Alternative readings of the text of the complete Gottweig edition
Suite 10
Jan 31, 2017
May 14 2017: Now that I have seen HS 4806 in the flesh, I have a theory about this suite. I think the original manuscript has had some pages removed at this point, maybe during a second binding during the 18th century, perhaps to make room for the insertion of Suite 9. That would explain why the Suite has none of its essential movments, that would ususally be part of a suite, Allemande, Courante, Saraband, Gigue. This would make sense of a tiny detail in the surviving pages, and explain why the staff lines for the accordatura are drawn in by hand:
I say during the 18th century because whoever scribbled it in by hand knew that the accordatura was needed.
The rest of the Accordaturas look like this one from Suite 1, that is to say, part of the preprinted staff lines:
Even the slightly dodgy looking accordaturas, like this one from Suite 3, are on the pre ruled staves (this one has an extra hand drawn ledger line:
So, if you accept this theory, that pages were removed to make room for Suite 9, what we have left to us of an orginal Suite 10 are its Galanteries: 4 minuets and a rondeau.
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.
Menuet 1
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.
Menuet 2
Bar 13 basso in the manuscript the b at the end of the bar is natural.
Rondeaux (sic)
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.
Menuet 3
bar 33 vda The solution in the edition is a good one, but what is in the manuscript is 3 quarter notes, e f f.