Rhythm in bar 17 of first movement of Bach's Sonata in E, BWV 1016
Does anybody have access to a manuscript copy of the third of Bach's sonatas for violin and keyboard? I've heard many different interpretations of the rhythm of the second half of bar 17 of the first movement.
This is the version I'm used to:
But I've also heard recordings that play with this rhythm:
I've also heard recordings along these lines:
What are people's thoughts on the matter/experiences with this passage?
Just saw that there was a trill on the A in the second version; I've never heard it played there, always on the G# that follows it.
The version I have is the Wiener Urtext Edition by Schott, which is based on a variety of sources.
This could be an example of the baroque performance practice of unequal notes; the player has a lot of freedom with this. I like the look of version 1. Bach writes out a lot of his ornaments. the last group of notes is an appogiatura, a trill, and a turn. A different composer might use abbreviations. The position of the slurs on the downward scale are good. It emphasizes the first note of each pair, clashing with the keyboard notes.
Thanks for your thoughts, Scott and Joel. The vaguely polyrhythmic nature of the first one is perhaps what made me question it. I didn't know if it was necessarily in-keeping with Bach's general patterns of written-out ornamentation, but he was highly innovative so it wouldn't surprise me. I definitely prefer the first one!
I have the Henle Urtext, which is similar to your first example.
I assume this is one of the many movements for which there is no manuscript in Bach's hand. Interesting that the Henle and Wiener Urtexts disagree. Are they based on different sources? I have the Barenreiter Urtext at home and am on vacation, so I am unable to weigh in with whatever light that one could shed. However, I think you probably need to look at how Bach treats any similar phrases in the same movement (or any other slow movement), assuming there are any. Good luck!