3/15/2023 0 Comments Minuet no 2Sometimes, a bowing that works for the violins and viola(s), is just impractical for the cello(s) and bass(es). This is also echoed in my work as a professional string player. In my experience teaching at Suzuki institutes, it doesn’t matter too too much if violin and cello bowings don’t match when they are playing the same piece together. However, changes were also made to the violin bowings of Hunters’ Chorus, which, I believe now put them in line with the cello part… And, Hunters’ Chorus is played in G+ on violin, viola and cello. As for the Musette bowing change, since the violins and cellos don’t play in the same key, it may not matter that much. So, basically, as in many compromises, nobody’s happy. She told me that the revisions (in the violin books, anyhow), consist of a large number of *compromises* between the Asian, European and North American committees. While I wasn’t able to attend the entire talk, which outlined, more or less, the main changes in the new editions, I did have a chat with one of the committee members. I believe there were four or five members in all for this team. It’s too bad it hasn’t worked out yet.Īt the SAA conference in 2010, I attended a lecture given by some members of the North American violin books revision team. Please try again to get an article published. But I think everyone should be able to agree that we should at the very least be getting the composers names right. The idea of Universality is, at the same time, one of the the most beautiful and most challenging aspects of Suzuki. In a different “problem” Bach’s “Musette” now starts up-bow in the violin books, but continues to start down-bow in the cello books. tells me that Schubert Wiegenlied Op 98 No 2 is called “Lullaby” in the violin books, but it is called “Berceuse” in the cello books. Suzuki wanted a child studying violin in Japan to be able to play the same piece as a child studying violin in, say, Dubai, but a piano student studying the same piece as a cello student is now learning that same piece under a different name. This sort of falls into the category of contradictions and difficulty of realizing Suzuki’s ideal of “Universality”. Please do let me know if Petzold is credited in the Piano volumes. Yes, I had considered writing an article for the Suzuki journal at one point and even think that I may have sent them a proposal, but didn’t hear a response back. Thank you for reading, and for your comment. When someone incorrectly attributes the piece to Bach, look confused and say “Oh, you must be talking about the Petzold Minuet!” In honor of Petzold and of Bach, please correct this unfortunate case of mistaken identity when it arises. If we have to reduce him to just one piece, let us at least use a piece he wrote himself. If this music had the power to raise the dead, it would be the ghost of Petzold past that came to haunt. Take for example a children’s film called Mr Bach Comes to Call in which Bach appears to children who are practicing the Minuet and shares with them his life story. This Minuet has at times been virtually synonymous with Bach. I’ve been thinking a lot about this recently, not just about poor old Christian Petzold, but also about poor old J.S. Please, can we give the guy some credit?! At least there is any easy solution for naming the piece illustrated above: “Petzold Minuet”.ĭoesn’t anyone else feel bad for poor old Christian Petzold? The most famous piece he ever wrote, and for hundreds of years no one knew it. AND why is the Cello book 1 piece called “Minuet in C” when it is a transposition of well-known piece usually found in the key of G? This is all very confusing. Why then, in as late as the ©2007 edition of the Suzuki volumes, is this piece still attributed to JS Bach?Īnd why are the minuets called “Minuet 1”, “Minuet 2”, “Minuet 3”? Because that’s how they first appeared in the violin version of the books? But the cello books don’t use that order, and the numbers for the cello publication then become meaningless. Did you know? I didn’t, but apparently researchers have known since 1970 that Christian Petzold (1677-1733), not Bach, was the composer of this gem.
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