Interprtative Lens of Segovia’s classical guitar transcription on Bach’s Chaconne from Partita No.2 in D Minor Bwv 1004

Abstract

The Bach’s Chaconne partita no.2 in d minor BWV 1004 is a monumental classic of the Western Canon. Defining the transcription of the Bach’s Chaconne from the original violin version to a classical guitar transcription depends mostly on reconciling Bach›s musical integrity with the artistic possibilities and constraints of the guitar. However, the process of music transcription is not limited to the mere transfer of notation from one instrument to another; it also encompasses the artistic, technical, and expressive contexts that surround the composition. This study examines how Segovia’s transcription techniques on Bach’s Chaconne BWV 1004 enhance the polyphonic texture, enrich harmonic development, and allow for expressive interpretation, all while navigating the constraints of the guitar. By comparing and contrasting Segovia›s version with the original violin piece, the research explores how these techniques contribute to the overall complexity and texture of the transcription. The findings suggest that Segovia’s transcription not only preserves the essence of Bach’s composition but also expands the repertoire available for classical guitar, offering insights into the creative process of transcription. This analysis provides a deeper understanding of how Bach’s music can be faithfully performed across different instruments, supporting the notion that the core of Bach›s compositions transcends the specific instrument, thus guiding arrangers and musicians in producing transcriptions that honour the original work.

Keywords

• Bach
• Segovia’s transcription
• Classical Guitar
• Partita no.2 in d minor BWV 1004

References

1. Abraham, I. T. (2018). JS Bach’s Chaconne for Solo Violin: a performer-composer’s approach to interpretation. Doctoral thesis. The University of Arizona, Arizona, US. http://hdl.handle.net/10150/631897
2. Araújo Edlund, M. (2011). Dreams-A Journey through Bach’s Chaconne. Doctoral thesis. Gothenberg University, Sweden. https:// gupea.ub.gu.se/handle/2077/28237
3. Bates, W. H. (1981). Baroque keyboard music. Notes, 38(2), 451. https://doi.org/ https://doi.org/10.2307/939902
4. Betancourt, R. J. (1999). The Process of transcripition for guitar of JS Bach Chaconne from Partita II for violin without accompaniment, BWV 1004. Dissertation. University of Denver, Colorado, US.
5. Brew, S. S. (2018). Jazz standards arranged for classical guitar in the style of Art Tatum. Doctoral thesis. Indiana University, Bloomington, US.
6. Cano, P. J. G. (2016). Modern Guitar Techniques; a view of History, Convergence of Musical Traditions and Contemporary Works (A guide for composers and guitarists). Doctoral thesis. University of California, San Diego, US.
7. Cellier, A., & Rothwell, F. (1925). Is Transcription Permissible? The Musical Times, 66(992), 900–902.
8. Chang, W. (2019). The Chaconne for Solo Violin by JS Bach: A Performance Guide. Doctoral Thesis. University of Kansas, Lawrence Kansas, US.

9. Chung, K. W. (2016). Bach’s Chaconne in D minor: Kyung Wha Chung discusses the transcendental solo violin masterpiece with Caroline Gill. Doctoral thesis. California State University, CA, US.
10. Clark, W. A. (2009). Francisco Tárrega and the Art of Guitar Transcription. Doctoral thesis. University of California, CA, US.
11. Coelho, V. A. (Ed.). (2003). The Cambridge Companion to the Guitar (Cambridge Companions to Music). Cambridge University Press.
12. Davies, S. (1988). Transcription, authenticity and performance. British Journal of Aesthetics, 28(3), 216–227. https://doi. org/10.1093/bjaesthetics/28.3.216
13. De Los Santos, C. (2004). Performance- practice issues of the Chaconne from Partita II, BWV 1004, by Johann Sebastian Bach. Doctoral thesis. University of Georgia, Athens Georgia, US.
14. Djahwasi, H. R., Saidon, Z. L., & Ching, C. C. S. (2020). Integrated Approach for Classical Guitar Method. International Journal of Academic Research in Business and Social Sciences, 10(4), 73–87.
15. Djahwasi, H. R., Saidon, Z. L., Pongpradit, P., & Sampurno, M. B. T. (2023). Interpretation of technical and expression aspects on Mauro Giuliani’s “Grand Overture, Op.61.” Rast Müzikoloji Dergisi, 11(4), 563 – 587. https:// doi.org/10.12975/rastmd.20231145
16. Duarte, J. (1983). Review of Grieg, Edvard: Five Piece Transcribed by Mario Abril. In Soundboard. Soundboard.
17. Duncan, C. (1995). The art of classical guitar playing. Alfred Music.
18. Erickson, R. (2002). Secret Codes, Dance, and Bach’s Great Ciaccona. EMAg, 8(2), 34– 43.
19. Fabian, D. (2005). Toward a Performance History of Bach’s Sonatas and Partitas for Solo Violin: Preliminary Investigations. na.
20. Fabrikant, M. (2006). Bach-Busoni Chaconne. A piano transcription analysis. Doctoral thesis. The University of Nebraska-Lincoln, Nebraska, US. https://digitalcommons.unl. edu/dissertations/AAI3212927/
21. Fierens, C. G. (2019). Transcribing for Classical Guitar: History and Examples from Literature, with Three Essays from Different Styles and Instruments. Doctoral thesis. Indiana University, Bloomington, US.
22. Harb, T. (2014). The Unlimited Guitar: Arranging Bach and Britten as Means to Repertoire Expansion. Doctoral thesis. University of Toronto, Toronto, Canada. https://tspace.library.utoronto.ca/ handle/1807/68434
23. Hu, B. (2019). An Exploration into the Use of Scordatura Tuning to Perform JS Bach’s Partita BWV 1004 on the Guitar. Doctoral thesis. The University of Arizona, Arizona, US. https://repository.arizona.edu/ handle/10150/636928
24. Hudson, R. (1970). Further remarks on the passacaglia and ciaccona. Journal of the American Musicological Society, 23(2), 302– 314.
25. Kyung, S. E. J. (1999). Chaconne from Johann Sebastian Bach’s Partita No. 2: linear analysis. California State University, Long Beach.
26. Lester, J. (1999). Bach’s works for solo violin: style, structure, performance. Oxford University Press.
27. Little, M., & Jenne, N. (2009). Dance and the Music of JS Bach. Doctoral thesis. Indiana University Press, Bloomington, US.
28. McEwing, L. K. (2008). Is the Dance Still in the Music? Chaconne Compositions from the Seventeenth to the Twentieth Century. Open Access Te Herenga Waka-Victoria University of Wellington.
29. Miller, S. F. (2012). The development of the solo classical guitar repertoire, 1800-1850. [Emporia State University]. https://esirc. emporia.edu/handle/123456789/1703
30. Moolman, J. L. (2010). Key factors that contributed to the guitar developing into a solo instrument in the early 19 th century. Doctoral thesis. University of Pretoria, Pretoria, South Africa.
31. Munoz,L.J.(2022).ThoroughbassReductive Analysis Applied to Arranging Bach’s Solo Violin Sonata BWV 1003 for Guitar. Doctoral thesis. University of Toronto, Toronto, Canada. https://tspace.library.utoronto.ca/ handle/1807/125096
32. O’Toole, M. (2019). John Williams: Changing the culture of the classical guitar: Performance, perception, education and construction. Routledge.
33. Park, M. (2003). Chaconnes and passacaglias in the keyboard music of François Couperin (1668–1733) and Johann Caspar Ferdinand Fischer (1665–1746). Doctoral thesis. The University of Texas, Austin, US. http://hdl. handle.net/2152/12928
34. Reiss, P. R. (2016). A Musical’Notage à Trois’: The Relationship Revealed Between Three Manuscript Versions of JS Bach’s Unaccompanied Violin Sonatas and Partitas?. Doctoral thesis. Charles Darwin University, Darwin, Australia. https://researchers. cdu.edu.au/en/studentTheses/a-musical- notage-a-trois
35. Ritchie, S. (2016). The accompaniment in” unaccompanied” Bach: interpreting the Sonatas and Partitas for violin. Doctoral thesis. Indiana University Press, Bloomington, US.
36. Schulenberg, D. (2017). “ The Accompaniment in’Unaccompanied’Bach: Interpreting the Sonatas and Partitas for Violin,” by Stanley Ritchie. Performance Practice Review, 21(1), 3.
37. Silbiger, A. (1999). Bach and the Chaconne. The Journal of Musicology, 17(3), 358–385.
38. Stringer, D. L. (2021). An Annotated Guide to Eight Selected Guitar Arrangements of Francisco Tárrega. Doctoral thesis. The Florida State University, Florida, US. https://purl.lib.fsu.edu/diginole/2021_ Fall_Stringer_fsu_0071E_16457
39. Sun, C.-L. (2001). Violin and dance in the Baroque era: The unaccompanied violin Partita BWV1002 by Johann Sebastian Bach. Doctoral thesis. University of California, Santa Barbara, US.
40. Turnbull, H. (2006). The guitar: From the Renaissance to the present day. Bold Strummer Ltd.
41. Tyler, J. (1980). The Early Guitar: A History and Handbook (Early Music Series). Oxford University Press.
42. Tyler, J., & Sparks, P. (2002). The guitar and its music: from the Renaissance to the Classical era. OUP Oxford.
43. Ugrich, M. (2018). A study of the triumphs of Andrés Segovia made possible through the evolution of the guitar. Doctoral thesis. University of South Dakota, South Dakota, US.
44. Wade, G. (1983). Segovia, a Celebration of the Man and His Music (Vol. 24). Allison & Busby.
45. Wade, G. (2010). A concise history of the classic guitar. Mel Bay Publications.
46. Wade, G. (2018). Traditions of the classical guitar. Alma Books.
47. Walker, T. (1968). Ciaccona and Passacaglia: Remarks on Their Origin and Early History. Journal of the American Musicological Society, 21(3), 300–320.
48. Yates, S. (1998). Bach’s Unaccompanied String Music: A New (Historical) Approach to Stylistic and Idiomatic Transcription for the Guitar. Mel Bay Publications Inc.