Daniel Auner, Dagmar Glüxam | J.Seb. Bach

Welchen Effekt hat ein musikalischer Affekt?

Daniel Auner arbeitete in den letzten Jahren intensiv mit der Wiener Musikwissenschaftlerin Dr. Dagmar Glüxam zusammen. Ihr kürzlich erschienenes Buch "Aus der Seele muss man spielen" - LINK bildete die Basis für eine Interpretation rein nach den Regeln der musikalischen Rhetorik. Eine Aufnahme wurde von der Universität Mozarteum Salzburg unterstützt und wird hoffentlich Corona-Verzögert noch 2020 erscheinen.

Englischer Text:

What effect has the affect?

We are today so used to hear some of Bachs music played in a meditative character that it became a "tradition" to play f.ex. the Adagio of BWV 1001, the first piece in this cycle, very calm. But look at these fast notes, these modulations and strong dissonances. Sei Solo - translated into English - Be Solo, could also mean that he used these works to process the loss of his beloved wife Barbara Bach. Imagine hearing this Adagio played by an organ, Bachs favourite instrument. Calm?

Dr. Dagmar Glüxam, Professor at the University of Music and Performing Arts in Vienna published a very much recommendable edition of the Sonatas and Partitas by Johann Sebastian Bach in 2009 with the Wiener Urtext Edition, UT 50255. In this edition she adds as a source to the original manuscript  (A) also a manuscript copy by Anna Magdalena Bach (B), a manuscript copy by two copyists from the middle of the 18th century, possibly Bach's pupil Georg Gottfried Wagner (BWV1001-1005) and another copyist from the end of the 18th century (BWV1006) (C), another incomplete manuscript copy from the collection of Johann Peter Kellner (1726) (D). Using these extra sources (of course just if in the A source something is not completely clear) she can add suggestions for bowings in places where it doesn't end up correctly.

"Although a different sound is naturally produced when performing the Sei Solo â Violino senza Basso accompagnato, Johann Sebastian Bach's Sonatas and Partitas, on the Baroque violin customarily used in the 17th and 18th centuries, with its lower and somewhat flatter bridge, smaller bass bar, somewhat shorter neck and fingerboard, gut strings, different bow shape, weaker hairs etc., there is no reason why Bach's solo violin works should not also be performed on the modern violin. The question of instrumentation and of holding the violin and bow is only one aspect of interpretation; the so-called "proper" performance of this work is no less important.

The exceptional popularity of the Sei Solo and the continual recurrence of certain interpretational questions has given rise to numerous, sometimes contradictory solutions. However, it is astonishing to note that the individual problems have to date mainly been tackled from the perspective of playing technique, while the elements of Baroque compositional theorey - musical rhetoric and affective theory - have so far barely been considered in connection with this work."

Quote: Preface of UT 50255, Prof. Dr. Dagmar Glüxam

The recording was made in Stiftung Mozarteum Salzburg and will be hopefully published still 2020.