pogmoor wrote:The only evidence I've come across is what can be deduced from comparing manuscripts. If you look at the Weyrauch tablature of Bach's BWV 997 you can see that the Sarabande includes what must be a second time bar.
Yes - I know the Weyrauch of course, and have pondered over this and many other MSS to boot. For instance - the Weiss British Library MS in particular is interesting:
The five dance movements all have the usual two sections divided by bar double
lines straddle by dots (sometimes 2, sometimes 3 or even 5). However, the first Prelude - presumably not to be repeated - ends with similar lines and dots ... surely simply decorative?
The Ciacona has repeats marked not by the usual double lines and dots
but by a dotted elipse, sometimes containing a "signe" style S
. It ends with the same "decorative flourish" as the aforementioned Prelude.
Five dance movements with similar markings to Suite VI.
Ciacona - 1st 56 measures bear nothing resembling repeat signs - oversight? I don't think so - the right bar line of measure 56 bears dots to its right only. Following from here each seven measure strain is marked by a single
line with dots to the left and
right. The penultimate measure ends with dots to the left only whilst the final measure - containing a single chord and clearly not to be repeated - is marked by the familiar final decoration of double
lines and dots.
The Passagaille which prompts my query, in the London MS, is marked at every strain by double lines and dots. The same work in Haslemere (ms II.B.2) has each variant divided by dots between
lines (as in Castillion's Le Cocq collection) and uses the same system to indicate binary repeats.
The evidence of the London MS is at least inconsistent and ambiguous - the Haslemere, I have to admit, is visually consistent and speaks against me - and yet musically the repeats feel so wrong but I haven't, so far, found any written description outside of Castillion.