ABSTRACT
Chapter 4 introduces a model based on an analytical framework that explores some of the “markers” that reveal Bach’s authorship of the Partita. “Authorship markers” are conceived as elements that disclose the traces of Bach’s compositional gestures, including the work’s overall formal conception, the stylized nature of the dances and the doubles, their harmonic structure, the exploration of idiomatic writing, Bach’s music as a reflection of a sounding space, and the gestural dimension of the German’s music. These markers are embedded in and emerge from Bach’s own conception of music and originality. My analysis thus connects, from this unique analytical perspective, Bach’s music to four contemporary expansions of the Partita’s structure taken from the … Bach … project: the new doubles composed by Fernando Buide, Miguel Matamoro, Tomás Marco, and Esaias Järnegard. I analyze each case study separately, applying the intellectual framework developed in the earlier consideration of Barthesian and Derridean thinking. My research presents these specific re-elaborations of Bach’s music as examples that question the dominant work- and author-concepts and put forward new definitions.
