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violAalta Jean-Sébastien BACH

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VIOLA SIX SUITES
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for cella
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transcrites pour alto par :
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transcribed for the viola by:
Stéphane WIENER

1 n Volume 1 : Suites 1-2-3

? Î (BWV 1007-1008-1009)

MUSIQUES POUR L'ALTO

Collection dirigée par Serge COLLOT

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 FOREWORD

weare very ple·,.,~ed

w1.
""' to welcome this transcription ofJohann Sebastian BACHs'
6 CeUo Suites in our viola repertoire collection.

This edition marks the successful outcome ofa long-term project. Stéphane
WIENER's 1980 transcription was already a great step forward as it broke
away from ingrained post-Romantic performing habits and stylistic
misrepresentations. When we started working on this new edition, he
decided to rethink his whole approach and focus on the three known
manuscript copies of the Suites.

In the absence of an authoritative autograph version, choices were to be

made. While Stéphane WIENER's options are definitely his, they are ail
supported by, and rooted in, one or the other ofthe most 'authentic' copies.

With the Sixth Suite, original/y composed for a 5-string instrument, other
problems arose which S. WIENER solved very elegantly, without resorting to
transposition.

Most cellists playing the Fifth Suite nowadays abide by BACH's original
scordatura tuning: G-D-G-C, · which alone can express its true character.
I am convinced viola players must follow the same path.

1 sincerely hope Stéphane WIENER 's exemplary work will be an essential

~eference for ail viola players, be they virtuosos, teachers or students, and an
inspiration for us ail in our reflection on style, authenticity and
znterpretation.

Serge COLLOT
My fint transcription for viola of Bach's Six Suites for Violoncello, completed
in 1980, illustrated a conference tlt the first "Professeurs et Amis de l'Alto"
conclave. The discovtry ofa new manuscript version of these Suites, copied by
a pupil ofBach's, prompted me to review my work.

GENERAL RULES
I have used the following sources:
- Anna MACADALENA BACH (A.M.)
- WESTPHAL (W?
-JP. KELLNER (K)
-August WENZINGER (Éditions Barenreiter 320) (B)
as well as my first transcription {the fir.st three Suites with notes by
Serge COLLOT).

The only fingering suggestions occur in the Sixrh Suite, meas. 23-31. As to
dynamics, I have kept only those indicated in ail three sources and in the
Barenreiter edition: i.e. Fourth Suite {Bourrée I) and Sixrh Suite (Prelude).
Metronome markings are given in ( ).

Signs and symbols used:

+ = • 3- or 4-voice chords
or • inverted chord; ex. Sixth Suite: A (lower note) becomes the
2d note in the chord {which would otherwise
be impossible to play on the viola)
or • ifthe chord cannot be played unless divided in two groups of
two notes each
(Hi"_.-----,) = • written one octave higher in the original (this applies only to
the Sixrh Suite. The other Suites are i1ll played one octave
,- V
higher on the viola, anyway).
LJ becomes U = the distinction between legato or detached playing is essential.

Like my cello and double-bass colleagues, in the absence of an authoritative

autograph version of these pieces, I have based my transcription on the three
known copies by Ann~ Magdalena, w:estphal and ].P Kellner. None of these,
however, can be used m extenso. Choices are to be made between articulations
or rhythmic !atterns which may q_uite dive,ge at times. J do not pretend to
know everythzng (nor dol confer with the snirit ol' 'ohann Seba t · · h
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hours), but I have tned to be as honest as possible in m,v 0int ·
· J r ions - most o+ al!
I have tried to corne a little doser to BACH's truth ·h l 'J '
... wzt ove.
 -l

SUITE I
PRÉLUDE Jean-Sébastien BACH
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