4.1

Literal versus ornamental delivery of small rhythmic values in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 1-2. Six versions: Monica Huggett © Virgin Veritas, Oscar Shumsky © Musical Heritage Society, Shlomo Mintz © Deutsche Grammophone, Julia Fischer © PentaTone Classics, Sergey Khachatryan © Naïve, Alina Ibragimova © Hyperion. Duration: 2.08.

151

4.2

Ornamentation in J. S. Bach, A minor Sonata BWV 1003, Andante, extract: repeat of bars 1-11. Two versions: Sergiu Luca © Nonesuch, Ilya Gringolts © Deutsche Grammophon. Duration: 1.07.

155

4.3

Ornamentation in J. S. Bach, E Major Partita BWV 1006, Loure, extract: repeat of bars 5-20. Ilya Gringolts © Deutsche Grammophon [edited sound file, first time play of bars 12-20 eliminated to show only the repeats]. Duration: 0.58.

157

4.4

Ornamentation in J. S. Bach, B minor Partita BWV1002, Sarabande, extract: repeat of bars 9-16. Five versions: Viktoria Mullova 1987 © Philips, 1992 © Philips, 2008 © Onyx, Ilya Gringolts © Deutsche Grammophon, Sergiu Luca © Nonesuch. Duration: 2.31.

158

4.5

Ornamentation and lilted rhythm in J. S. Bach, E Major Partita BWV1006, Menuet I, four extracts: bars 1-8. Jaap Schröder © NAXOS; bars 1-8 with repeat. Rachel Podger © Channel Classics; bars 1-8. Lara St John © Ancalagon; embellished repeats from Menuet I and its Da Capo. Isabelle Faust © Harmonia Mundi [edited sound file to show repeats only]. Duration: 2.31.

162

4.6

Ornamentation in J. S. Bach, D minor Partita BWV 1004, Sarabanda, six extracts: repeat of bars 1-8. Two versions: Pavlo Beznosiuk © Linn Records, Isabelle Faust © Harmonia Mundi; repeat of bars 16-21. Two versions: Isabelle Faust, Pavlo Beznosiuk; repeat of bars 4-21. Rachel Barton Pine 2004 © Cedille [edited to show only repeats]; repeat of bars 1-8 and 25-29. Monica Huggett © Virgin Veritas. Duration: 5.05.

163

4.7

Ornamentation in J. S. Bach, E Major Partita BWV 1006, Loure, extract: repeat of bars 1-3. Seven versions: Ilya Gringolts © Deutsche Grammophon, Isabelle Faust © Harmonia Mundi, Viktoria Mullova 2008 © Onyx, Lucy van Dael © NAXOS, Elizabeth Wallfisch © Hyperion, Sergiu Luca © Nonesuch, and Richard Tognetti © ABC Classics. Duration: 1.53.

165

4.8

Interpretations of the notation at the end of J. S. Bach, A minor Sonata BWV 1003, Grave, extract: bars 22-23. Eight versions: James Ehnes (© Analekta Fleurs de lys) trilling both notes in both dyads; James Buswell (© Centaur) trilling the top notes of the dyads; Miklós Szenthelyi (© Hungarton) strongly vibrating the first dyad and then trilling the top note; Lara St John (© Ancalagon) trilling the top note and then both notes; Pavlo Beznosiuk (© Linn Records) producing a trillo (bow-vibrato) on the first dyad followed by a trill on the second; Brian Brooks (© Arts Music) performing a less obvious bow vibrato; Benjamin Schmid (© Arte Nova) playing a crescendo with increasing vibrato leading to trill on second dyad followed by decrescendo; Alina Ibragimova (© Hyperion) playing without vibrato, creating a small mezza-di-voce on the first dyad then a trill with diminuendo on the second. Duration: 2.43.

168

4.9

Dotting and accenting in J. S. Bach, D minor Partita BWV 1004, Corrente, extract: bars 1-6. Three versions. Sergiu Luca © Nonesuch, Ingrid Matthews © Centaur, Julia Fischer © PentaTone Classics. Duration: 0.30.

176

4.10

Articulation and perceived dotting in J. S. Bach, B minor Partita BWV 1002, Allemanda, extract: bars 1-3. Two versions. Gidon Kremer 1980 © Philips, 2005 © ECM. Duration: 0.26.

178

4.11

Articulation and perceived dotting in J. S. Bach, B minor Partita BWV 1002, Allemanda, extract: bars 1-3. Three versions. Viktoria Mullova 1987 © Philips, 1992 © Philips, 2008 © Onyx. Duration: 0.42.

179

4.12

Tempo, articulation and musical character in J. S. Bach, E Major Partita BWV 1006, Loure, extract: bars 1-8. Four versions: Hillary Hahn © Sony, Miklós Szenthelyi © Hungaroton, John Holloway © ECM, Alina Ibragimova © Hyperion; repeats of bars 1-8: Jaap Schröder © Naxos. Duration: 3.13.

180

4.13

Sturdy style of evenly emphasized beats in J. S. Bach, E Major Partita BWV 1006, Menuet I, extract: bars 1-8. Rudolf Gähler (curved “Bach-bow”) © Arte Nova Classics. Duration: 0.13.

182

4.14

Different bowings within HIP style in J. S. Bach, G minor Sonata BWV 1001, Fuga, extract: bars 1-6. Six versions: Sigiswald Kuijken 1983 © Deutsche Harmonia Mundi, Rachel Podger © Channel Classics, Elizabeth Wallfisch © Hyperion, John Holloway © ECM, Pavlo Beznosiuk © Linn Records, Monica Huggett © Virgin Veritas. Duration: 2.11.

185

4.15

Different interpretations in J. S. Bach, G minor Sonata BWV 1001, Fuga extract: bars 35-42. Seven versions: Ingrid Matthews © Centaur, Rachel Podger © Channel Classics, Jaap Schröder © NAXOS, Sergiu Luca © Nonesuch, Elizabeth Wallfisch © Hyperion, Sigiswald Kuijken 1983 © Deutsche Harmonia Mundi, John Holloway © ECM. Duration: 3.09.

188

4.16

Performance of multiple stops in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bar 1, chord 1. Four versions: James Ehnes © Analekta Fleurs de lys, Ruggiero Ricci © One-Eleven, Ingrid Matthews © Centaur, John Holloway © ECM. Duration: 0.18.

191

4.17

Increasingly lighter bowing, less legato articulation and stronger pulse in J. S. Bach, B minor Partita BWV 1002, Sarabande, extract: bars 9-17. Eleven versions: Ruggiero Ricci © One-Eleven, James Ehnes © Analekta Fleurs de lys, Sergey Khachatryan © Naïve, Gerard Poulet © Arion, Julia Fischer © PentaTone Classics, Benjamin Schmid © Arte Nova, Richard Tognetti ©ABC Classics, John Holloway © ECM, Lara St John © Ancalagon, Ingrid Matthews © Centaur, Elizabeth Wallfisch © Hyperion. Duration: 5.46.

192

4.18

Articulated / “rhetorical” versus legato / “romantic” style in J. S. Bach, C Major Sonata BWV 1005, Largo, extract: bars 3-8. Five versions: Elizabeth Wallfisch © Hyperion, Monica Huggett © Virgin Veritas, Thomas Zehetmair © Teldec, Gerard Poulet © Arion, Oscar Shumsky © Musical Heritage Society. Duration: 4.14.

195

5.1

Phrasing in J. S. Bach, E Major Partita BWV 1006, Loure, extract: bars 12-20. Three versions: Christian Tetzlaff 1994 © Virgin Veritas, Thomas Zehetmair © Teldec, James Ehnes © Analekta Fleurs de lys. Duration: 2.16.

205

5.2

Comparison of HIP performances in J. S. Bach, E Major Partita BWV 1006, Loure, extracts: bars 19-22. Two versions: Elizabeth Wallfisch © Hyperion, Rachel Podger © Channel Classics; bars 17-22. Monica Huggett © Virgin Veritas; repeat of bars 12-24. Sergiu Luca © Nonesuch. Duration: 2.15.

207

5.3

Articulation in J. S. Bach, E Major Partita BWV 1006, Gavotte en Rondeau, extract: bars 9-36. Elizabeth Wallfisch © Hyperion. Duration: 0.50.

209

5.4

Timing and tempo fluctuations going across bars in J. S. Bach, E Major Partita BWV 1006, Gavotte en Rondeau, extract: bars 9-16. Monica Huggett © Virgin Veritas. Duration: 0.15

210

5.5

Articulation and timing in J. S. Bach, E Major Partita BWV 1006, Gavotte en Rondeau, extract: bars 24-40. Monica Huggett © Virgin Veritas. Duration: 0.30.

210

5.6

Embellished rondo theme and comparison of MSP styles in J. S. Bach, E Major Partita BWV 1006, Gavotte en Rondeau, extracts: bars 40-72. Ilya Gringolts © Deutsche Grammophon; bars 48-64. Lara Lev © Finlandia Records. Duration: 1.09.

211

5.7

Similarities between subsequent recordings of J. S. Bach, E Major Partita BWV 1006, Menuet II, extracts: bars 1-16. Gidon Kremer 1980 © Philips; bars 1-16 and repeat of bars 1-4. Gidon Kremer 2005 © ECM. Duration: 0.52.

213

5.8

Contrasting interpretative strategies in J. S. Bach, E Major Partita BWV 1006, Menuet II, extract: bars 5-9. Two versions: Ilya Gringolts © Deutsche Grammophon (highlights metric units); Monica Huggett © Virgin Veritas (highlights melodic-harmonic goals). Duration: 0.16.

215

5.9

Contrasting interpretative strategies in J. S. Bach, E Major Partita BWV 1006, Menuet II, extract: bars 21-25. Two versions: Ilya Gringolts © Deutsche Grammophon (highlights metric units); Monica Huggett © Virgin Veritas (highlights melodic-harmonic goals). Duration: 0.14.

216

5.10

Comparison of subsequent recordings by same violinist in J. S. Bach, A minor Sonata BWV 1003, Grave, extracts: bars 5-9. Two versions: Gidon Kremer 1980 © Philips, 2005 © ECM; bars 19-21. Two versions: Gidon Kremer 1980, 2005. Duration: 3.22.

220

5.11

Comparison of subsequent recordings by same violinist in J. S. Bach, A minor Sonata BWV 1003, Grave, extracts: bars 5-12. Rachel Barton Pine 1999 © Chicago WFMT 98.7; bars 9-12. Rachel Barton Pine 2007 © The Artist; bars 19-23. Two versions: Rachel Barton Pine 1999, 2007. Duration: 3.25.

222

5.12

Comparison of subsequent recordings by same violinist in J. S. Bach, A minor Sonata BWV 1003, Fuga, extract: bars 240-289. Two versions: Christian Tetzlaff 1994 © Virgin Veritas, 2005 © Virgin Classics. Duration: 2.46.

226

5.13

Comparison of subsequent recordings by same violinist in J. S. Bach, B minor Partita BWV 1002, Allemanda, extract: bars 15-19. Two versions: Christian Tetzlaff 1994 © Virgin Veritas, 2005 © Virgin Classics. Duration: 0.51.

228

5.14

Comparison of subsequent recordings by same violinist in J. S. Bach, A minor Sonata BWV 1003, Andante, extract: bars 15-19. Two versions: Christian Tetzlaff 1994 © Virgin Veritas, 2005 © Virgin Classics. Duration: 0.43.

229

5.15

Comparison of subsequent recordings by same violinist in J. S. Bach, B minor Partita BWV 1002, Tempo di Borea, extract: repeat of bars 39-50. Three versions: Viktoria Mullova 1987 © Philips, 1992 © Philips, 2008 © Onyx. Duration: 0.57.

232

5.16

Comparison of subsequent recordings by same violinist in J. S. Bach, D minor Partita BWV 1004, Giga, extracts: bars 1-5. Two versions: Rachel Barton Pine 1999 © Chicago WFMT 98.7, 2004 © Cedille; bars 1-11. Rachel Barton Pine 2007 © The Artist. Duration: 1.03.

235

5.17

Comparison of subsequent recordings by same violinist in J. S. Bach, D minor Partita BWV 1004, Giga, extract: bars 1-10. Two versions: Sigiswald Kuijken 1983 © Deutsche Harmonia Mundi, 2001 © Deutsche Harmonia Mundi. Duration: 1.02.

235

5.18

Comparison of subsequent recordings by same violinist in J. S. Bach, D minor Partita BWV 1004, Giga, extract: bars 1-12. Two versions: Christian Tetzlaff 1994 © Virgin Veritas, 2005 © Virgin Classics. Duration: 1.05.

236

5.19

Comparison of subsequent recordings by same violinist in J. S. Bach, D minor Partita BWV 1004, Giga, extract: bars 12-20. Two versions: Gidon Kremer 1980 © Philips, 2005 © ECM. Duration: 0.52.

237

5.20

Comparison of subsequent recordings by same violinist in J. S. Bach, D minor Partita BWV 1004, Giga, extract: bars 6-16. Two versions: Viktoria Mullova 1993 © Philips, 2008 © Onyx. Duration: 1.10.

237

5.21

Comparison of subsequent recordings by same violinist in J. S. Bach, A minor Sonata BWV 1003, Grave, extract: bars 1-8. Two versions: Sigiswald Kuijken 1983 © Deutsche Harmonia Mundi, 2001 © Deutsche Harmonia Mundi. Duration: 2.27.

239

5.22

Phrasing in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 1-8. Gidon Kremer 2005 © ECM. Duration: 1.27

244

5.23

Phrasing in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 1-8. Itzhak Perlman. © EMI Classics. Duration: 1.37

245

5.24

Phrasing in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 1-8. Thomas Zehetmair © Teldec. Duration: 1.10

249

5.25

Phrasing in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 9-14. Thomas Zehetmair © Teldec. Duration: 0.39

250

5.26

Phrasing in J. S. Bach, G minor Sonata BWV 1001, Adagio, extract: bars 4-8, 13-15. Monica Huggett © Virgin Veritas. Duration: 1.24

254

5.27

Virtuosic style in J. S. Bach, E Major Partita BWV 1006, Preludio, extract: bars 1-33. Lara St John © Ancalagon. Duration: 0.38

254

5.28

Expressive versus virtuosic “moto perpetuo” style in J. S. Bach, E Major Partita BWV 1006, Preludio, extracts: bars 1-17. Jaap Schröder © NAXOS; bars 29-63. Rachel Podger © Channel Classics; bars 101-138. Lucy van Dael © NAXOS. Duration: 2.44.

257

5.29

Expressive versus virtuosic “moto perpetuo” style in J. S. Bach, E Major Partita BWV 1006, Preludio, extract: bars 1-12. Four versions: Ingrid Matthews © Centaur, Monica Huggett © Virgin Veritas, Sigiswald Kuijken 2001 © Deutsche Harmonia Mundi, Elizabeth Wallfisch © Hyperion. Duration: 1.20.

265

5.30

Expressive versus virtuosic “moto perpetuo” style in J. S. Bach, E Major Partita BWV 1006, Preludio, extract: bars 29-62. Four versions: Ingrid Matthews © Centaur, Monica Huggett © Virgin Veritas, Sigiswald Kuijken 2001 © Deutsche Harmonia Mundi, Elizabeth Wallfisch © Hyperion. Duration: 3.53.

267