Bradley scripsit, inter multa:
>- How do you (anyone) decide when/if to "triplet-ize" gigues that are
>written in duple notation? Boehm, Froberger, Bach (partita 6). What
>criteria matter in the decision?
I cant see a good reason for doing it in the Bach P6. However, a few days
ago I wrote:
Ferguson has some interesting stuff on this on p.12/13 of his Vol I. He
has a comparison of Frobeger's Gigue from Suite VII in the composer's
autograph (C) and the Bauyn m/s (3). Very different the rhythms are,
too. Nonetheless, I think he is stretching things a little when he
proposes in Boehm's gigue that four equal 1/16ths in 2/4 should be played
as a dotted 1/8th and 3 1/16ths in 6/8 (think about it!).
But nobody took me up on it.
>Louwenaar in the SEHKS journal #1 (1982-3) wrote about the Bach partitas
>that the aria and air in partitas 4 and 6 belong after the sarabande
How did she decide this? They sound fine to me where they are.
However, I am not sure that order of movements, or even the complete
omission of some, would worry the ancients. What are we to make of the
performers who pick and choose among the various movements of Louis
Couperin and advertise it as Suite en re-bemol, etc? I often wonder why
they chose the particular movements they did -- and then wonder whether LC