This edition is based on the autograph manuscript of Suite No. 3 in C Major for solo violoncello, BWV 1009 which exists in Anna Magdalena Bach's (Bach's second wife) hand. She often served as his copyist and was a very good musician in her own right. There does not seem to exist a manuscript in J.S. Bach's own hand. The music has been transposed to G Major (sounding a fourth lower). The solid slurs are my best understanding of what exists in the autograph. Dotted slurs are my suggestions for additional slurs.
Since this edition for double bass will likely be played by double bassists with modern setups, I have made some bowing suggestions that I hope will help the performer express the musical intentions illustrated in the manuscript.
Fingering suggestions are in Arabic numerals. Sometimes I give more than one suggestion. When 2 or more notes are to be played at one time the vertical order of the fingerings corresponds to the vertical order of the notes. Roman numerals are used from time to time to make it clear on which string to play: I = G, II = D, III = A, IV = E.
San Francisco, 2009
Stephen Tramontozzi is the Assistant Principal Bass with the San Francisco Symphony since 1980. A native of Arlington, Massachusetts, he studied at the Eastman School of Music, New England Conservatory, and the San Francisco Conservatory. Mr. Tramontozzi is on the faculty at the San Francisco Conservatory, has led master classes across the United States, and has coached members of the SFS Youth Orchestra bass section since its inception. He also formerly served on the faculties of Stanford University, the University of California, Berkeley, and UC Santa Cruz.
His publications include The Solo Cello Suites of J.S. Bach for Double Bass Nos. 2, 3, and 4. He has recorded the Books of Madrigals by George Crumb under his supervision; the keyboard concerti of J.S. Bach with Awadagin Pratt and the St. Lawrence Quartet; and a CD of chamber music by Lou Harrison.