Edizioni, registrazioni e generazioni a confronto
Le Suites per violoncello solo di Johann Sebastian Bach in Italia
|Nr.||11 (dicembre 2019)|
|Size||17×24, pp. 167 (111-136)|
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Over three centuries, 99 editions and around 100 of recordings of the Bach’s Cello Suites have been commercialised: these are very high numbers, which find a reflection in the Italian panorama. This paper draws from the analysis of performance editions and recordings by Enrico Mainardi and Rocco Filippini — two cello virtuosi and teachers who worked in Italy in different decades of the 20th century — and it focuses on three aims. Firstly, it highlights of how editions reflected specific editorial models and theoretical conceptions. Secondly, it discusses of the relations between Mainardi’s and Filippini’s recordings and their editions, by identifying continuities and rifts in the interpretation history of Bach’s Suites. Finally, Mainardi’s and Filippini’s cases are read in the light of the broader reception phenomenon of Bach’s Cello Suites in Italy in the 20th century, by considering how the attention addressed by musicians, markets and the public to this collection was influenced by both textual issues and cultural factors.