Göttweig Suite 20
Alternative readings of the text of the complete Gottweig edition
Dec. 6, 2016
Like the other works in d minor this Suite has no accidentals in the key signature. This work seems to me quite similar to Suite 16.
These critical notes have not yet been proofed by other players. Please let me know if you have suggestions.
Sonate. (Is it possible that despite the dance movements that this is a sonata?)
Bar 4 viola d’amore. In the manuscript the lower note of the double stop is a unison F, in short, it is a triple stop f’f’a’, not a double stop. In this work these unison double stops appear on weak beats and other less usual places.
Bar 5 vda In the manuscript the rhythm of the third beat is dotted quarter eighth.
Bar 11 viola d’amore. In the manuscript the second quarter note is g’.
Bar 16 basso In the manuscript the first two notes have the figure 7. In this manuscript the edition has read these 7’s as 3’s. Certainly the 7’s are not crossed as they are in modern European handwriting.
Bar 18 vda I suggest playing an a’ as the second note of the bar.
Bar 26 vda In the manuscript this is a quintuple stop with a b flat as the lowest note.
Bar 29 vda part In the manuscript the last 8 notes are d f e c b flat d f g.
Bar 30 In the manuscript the forth beat is a G major harmony.
Bar 35, vda real notation part, the f' on beat three should be an octave lower.
Bar 38 vda in the manuscript the fourth 16th note is a b natural.
Bar 43 basso In the manuscript the figures are # 6 7 and #
Bar 45 Basso. I suggest starting the sequence here, on the 3rd beat with an f. That way it works out more logically, and the vda part can return to being an f as well.
Bar 49, beat 4 vda parts. in the manuscript there is lower note dotted eighth a, making a double stop a e on the fourth beat.
Bar 2 basso, beat 2, in the manuscript the figures are 7 6 and are the same in the parallel passages.
Bar 5 vda part. Please remember that most often in this manuscript slurs are not carefully drawn.
Bar 19 vda in the manuscript the last note is a b natural.
Bar 3 Basso In the manuscript the first figure is a 7, as it is in the parallel passage.
The end of the rondo theme is a bit confusing from the point of view of harmony.
I suggest playing an F half note as the bass note of a 6th chord, at the beginning of bar 7 and the parallel places. If you like; I find this is a lovely touch in the harmony.
Bar 32 vda part. I suggest playing g b natural f triple stop on the first beat, parallel to the following bar.
Bar 6 basso In manuscript c dotted half and d quarter. In the vda part bar 6 is a reconstruction. I suggest playing a dotted quarter c e on the downbeat.
Bar 14 beat 1 I suggest g major harmony.
Bar 17 vda In manuscript beat 1 the b is natural.
Bar 21 vda part I suggest changing last 2 eighth notes to g f
Bar 23 vda part. In manuscript the 4th eighth note is an e.
Bar 11 vda parts. In the manuscript the chord on beat 1 is e f c, but I suggest d f c is intended.
Bar 26 vda parts beat 1. the lower note of the double stop, f’, is doubled, making a triple stop f f a.
Guigz/basso, Gigz vda
Bar 8, vda. In the manuscript the a’ is doubled. a’/a’
Bar 21 basso, the figure on beat two is 7. To help that figure make sense, I suggest playing the whole of the second beat in the vda part a tone lower, d e f d.