Presumably the reason some players use a Campanella is simply because it sounds so good on the guitar and I would have to agree.
Mark Clifton-Gaultier wrote:If you feel that's a good enough reason to indulge in campanella then fine - an ear-tickling gimmick may well catch the attention and, as you say, taste inevitably plays its part in all of our fingering decisions.
Isn’t tremolo a gimmick?
Hi Rasqueo - I will subscribe to the idea that any technique not employed toward a musical purpose could
be a gimmick and indeed, "gimmickry" may be justifiably used simply for the purpose of fun or dazzling technical display.
We find venerable examples of the latter in the work of e.g. Sanz
(slur passages and campanella), Sor
(left hand alone), Legnani
(only one fretting hand finger) and many, many other instances - even two playing upon one lute, all in the name of entertainment, showmanship. No doubt the occasional tremolo variation might have been conceived in a similar vein.
What we are observing in the particular Bach example referenced by the O.P. however is rather different - a more "scholarly" edition in which the author himself presents certain elements as, "essential to a full understanding of the arranging process and the meaningful performance of the music."
For the sake of brevity I will avoid analytical discussion regarding the nature of the "cello suites" - suffice to say that in this instance a campanella style execution does absolutely nothing to serve a meaningful performance
, instead rather undermining the motific and directional power of the original line.