The Fugue Movement of J. S. Bach's Lute Suite BWV 997: A Formal and Musical Analysis and the Impact of its Keyboard Origins on Performance Practice

Özet

The suites attributed to lute by Johann Sebastian Bach, particularly the Suite BWV 997, form a foundational yet problematic part of the modern classical guitar repertoire. This study addresses the interpretive and technical challenges arising from the prevailing musicological argument that BWV 997 was originally composed not for the lute but for a keyboard instrument, specifically the Lute-Harpsichord (Lautenwerck). The paper utilizes formal and musical analysis, contextualized by historical debates (Ledbetter, 1987; Titmuss, 2015), to demonstrate how the work’s inherent "keyboard music character" influences current transcription and performance practices.

The analysis focuses on the Fugue movement, examining its three-voice contrapuntal structure, unusual da capo form, and the sophisticated use of techniques such as inversion and mirror symmetry. Findings confirm that the high tessitura and dense polyphony of the original notation necessitate significant instrumental adaptations for the six-string guitar, including the common transposition from C minor to A minor to optimize open string usage.

The study concludes that an understanding of the work's non-lute origins and its intricate formal design is crucial for informed interpretive choices. By highlighting the structural elements and contrapuntal devices, this research provides guitarists with the analytical foundation needed to navigate the challenges between textual fidelity (e.g., using multi-string instruments or capos) and technical feasibility, ultimately fostering performances that are both historically aware and aesthetically compelling.