Stephen Faulk wrote: ↑
Fri Dec 28, 2018 2:51 am
Regarding tempo......So I'm thinking about tempo that search for ways to make the guitar version work on the guitar. Maybe that means playing sarabandes faster, for example.
The contrasting aural character & technical considerations between cello & character would, I agree, have some influence on choice of tempi since what sounds most convincing & technically practical on one instrument does not necessarily translate to another.
Unlike you, I don't play cello and I also do not play a guitar tuned in 5ths but I've listened to many cello recordings & played through all the suites in original keys & transposed keys & arrangements and it's often immediately apparent that it makes sense to approach the suites somewhat differently in terms of tempo (& some other areas) when playing them on guitar.
On cello the sustaining power & ability to vary single notes after initial attack means you can wallow in the beauty of melody in, for example, the sarabandes, to a larger (longer) extent than the guitar (so again, I agree a slightly faster sarabande tempo might make sense).
Transcriptions from other instruments work similarly, eg violin partita 3 in E prelude / lute suite 4 prelude where the naturally more agile violin seems to demand a faster tempo than on the guitar - which also has the extra basses too making it technically less viable & aurally more rushed-sounding to play at the same fast tempo.
However I would always refer first to the original instrument anyway to get an idea of how tempi vary between movements & to get ideas on a whole host of other areas such as ornamentation, articulation etc.