JOH. SEB. BACH KLAVIERWERKE NEUE AUSGABE VON FERRUCCIO BUSONI EGON PETRI UND BRUNO MUGELLINI FRANZOSISCHE SUITEN (EGON PETRI) EIGENTUM DER VERLEGER FOR ALLE LANDER BREITKOPF & HARTEL LEIPZIG — BERLIN E.B. 4306PREFACE jo make an instructive edition, for the use of students, of the works of composer is a responsible task for @ T conscientious editor. He feels that he can never get heyond a subjective interpretation; he knows that his own repro- duction is not always the same, that tempo, light and shade, fingering, pedalling, all vary according to mood and feeling; ho is conscious of the fact that certain differences of rendering, which sound right when played, present quite a different effect a8 soon as they are written down, appearing conventional, and, as it were, petrified; that, indeed, there is much which it is impossible to express by signs at all. From the consciousness of this dilemma arises the danger of falling ‘nto one of two extremes: either, by being too copious in detail in his endeavours to be clear, to appear pedantic, or, by being too sparing of indications and explanations, to fail in fulfilling the demands of an instructive edition. In Bach’s works the difficulty of his situation is considerably increased by the fact that almost all instructions as to the execution, which we are accustomed to regard as a matter of course in the works of other composers, are lacking. ‘Here and there a simple indication of the time, a few isolated marks for phr: are all. At that time, when the possibilities of expression were still extremely limited, and when, as yet, there were not so many different kinds of style in usage, it was possible to rely on the comprehension and power of judgment of the player, these being guaranteed by the vitality of example, and the reliability of oral instruction. Everything was regu- and, with the uniformity which reigned in creative production, in feeling and in teaching, misunderstandings were well-nigh impossible. To day the conditions are different, and although the artist of independent thought, and re-creative power will find the monumental edition of the Bach-Gesellschaft sufficient, which gives only the correct notes, without any additional indications whatever —, an instructive edition will prove indispen- salle for the student (and, may we add, for many teachers?), for long experience, and advanced development are necessary to grasp the character of each piece correctly, to distribute light and shade with perception, and to give vitality to the whole, Thus, the editor of Bach's works is entirely dependent on his own judgment and feeling, in settling the question of tempo, light and shade, phrasing, ete. and if, by this very lack of all indications, his work becomes doubly necessary and fascinating, s0 also, for this same reason, does it become a doubly responsible task. Nearly all musie-students are ignorant that these are the facts of the case; as a rule they have never seen one of Bach's works in its original form, and have therefore no idea that the “Edition” in question is accountable for all the marks of expression. ‘The Chromatic Fantasy affords a striking example of how fateful this may prove for the criticism of the rendering of Bach's works; for, while the Billow edition, which is entirely subjective in its interpretation, and in parts arbitrarily altered, has become academically traditional, Busoni’s Reconstruction of the original is looked on by many as an “adaptation”. ‘A further difficulty, — apart from the great space of time which has elapsed, — arises from the enormous difference between our present-day instrument, and that for which Bach wrote his pianoforte works. Fuller information on this point will be found in the preface to vol. 13. Concerning the general principles to which the Editor has adhered, they are those which were established, and carried out for the first time by Busoni in his Bach Editions. 1, Reproduction of the text. In order to render the text more clear and legible, the notes for the right han‘ have been assigned to the upper staff, those for the left hand to the lower staff, throughout. 1g, an oceasional “forte” or “piano”, — these lated by proximity in time and place, BB. 4306vu 2 Graces. Easy as it is for the experienced musician to reproduce the grace-notes, in each individual case, artisti- cally correctly, it is nevertheless a critical task for the editor to write them out; the very essence of their nature lies in 2 cortain free improvisation, subject to a personal interpretation, this again being dependent on the tempo chosen, the quality of tone of the instrument, the mood of the moment, and therefore by nature opposed to being fixed in definite note-values. ‘Then again, the significance of the abbreviations, in spite of the detailed descriptions of Ph. Em. Bach, and others, is not quite clear. For instance, it is often difficult to decide whether an appoggiatura should be long or short, (as it was only after Bach's time that the practice of writing out appoggiaturas according to their real value was Ddegun}, or whether the sign « signifies a long shake or a Pralitrller (inverted mordent). With the trill, it is frequently doubtful whether the shake extonds over the whole or only part of the note, whether it begins with the subsidiary note, and ends with a turn, or (as an exception) begins with the principal note, and is to be played without a tun. In such cases only individual taste can decide. For this reason, the graces have been written out either in or above the text in small type, at the same time leaving them in their original form; in this way, the beginner, who, as experience proves, is confused by the various signs, may become familiar with the manner of their reproduction, whereas the more ad- vanced student is free to interpret them according to his own judgment and individual feeling, A singular problem is presented by the short appoggiaturas, as also by the Pralltriller, the mordent, the double appoggiatura, the slide, the arpeggio, in quick tempo — and this, on account of the question as to which note is to have thé accent. Most authorities, — for opinions do not entirely coincide on this point — declare that the accent falls on the principal note. As, according to the rule unanimously established by all theorists, the time required for the execution of grace-notes has to be supplied by the principal note to which they belong, the accent does not fall at the commencement of the bar, (or part of bar) but comes, limping after, as it were, a fraction of time later. In slow ‘tempo, when the ornaments have a melodie importance, the principal, delayed note might, a9 a syncopated note, although it is far better to play all the notes equal in tone; but, in quick tempo, the above rule leads to demands which are at variance with all natural rhythmical feeling, as every unprojudiced observer will see from the following examples, culled from editions now in use, which, according to our opinion, are grotesque perversions, irrational contortions, resulting from a ‘principle’ pushed to extremes. a make-shift, be considered = Allegro 1, Short — 2 Double = appogeiee Oy = appoggia- 8. Sliae: tara ‘tora: FE st xpi = with axpeggio (Mozart): 5. Arpeggio with ecinccatare (Bach) According to the opinion of the Kditor, the only two ways of executing these graces, compatible with a sound rhythmical sense, unspoilt by any theory, are the following: either, as required by the rule, the time needed for the execution of the ornament is subtracted from the value of the principal note, so that the latter is suspended, or delayed, and comes in late, in which case the first note of the ornament always has the accent; or, better still, the principal note receives the accent —, then, in spite of all ‘paper’ rules and regulations, the ornament should be played in advance, From ‘a practical point of view, moreover, the dispute is idle. ‘The fractions of time are so minute, that the listener is hardly able to distinguish whether they are taken on the beat, or in advance. Even Ph. Him. Bach says, after having reduced the graces, with infinite trouble, to notes of microscopic value: “... the (Pralljtriller must be played so rapidly that one might imagine that the nots above which it stands does not hereby lose the smallest particle of its value, but comes in at the exact moment. ‘Therefore it must not sound so fearsome as it would look, if one were always to write out each one of its notes.” 7B. 808,Ix If nevertheless the Editor has adhered to the first method in the execution of Pralltriller, mordents ete, this hae been done chiefly for pedagogical reasons; for his experience proves that if the pupil plays the ornament in advance, he is induced to hurry, and this results in want of clearness in the execution. Exceptions have only been made in favour of the short appoggiaturas, represented by ‘, and the arpeggio {$) in quick time. For practical playing, the whole question acquires a new aspect, if looked at from a certain point of view. All the theorists start out from the hypothesis that tempo is unelastic, that each bar resembles @ box, into which only a certain number of notes will go. As soon as one realises how elastic tempo is, and how free from metronomical precision every really artistic per- formance ig, it will be seen that a lingering over many ornaments takes place, that, indeed, for the sake of intensifying the expression, there must be this lingering, so that it is quite possible to play. them without taking away anything of the value of either the precoding or the following note But here we step on to higher ground; he who has already attained it, no longer needs an instructive edition. 3. Marks of expression, time indications, ete. a) Tempo. In determining the tempo, the following principle may serve as guide: in quick movements, the time must be so quick that the rans and figures do not stagnate, or “stick”, i, ¢. that they do not resolve themselves into single notes, but can always be felt as a single impetus or swing up to a given note; on the other hand, of course, not so quick that hurry and want of clearness ensue; in slow movements, the time should be slow enough to allow of executing the amallest divisions of time, especially the ornaments, with the greatest calm and distinctness; on the other hand, again, not so slow that the notes belonging to one long-breathed phrase “fall asunder”; they must always preserve their inward relationship and unity. Beyond these general rules, the determination of the tempo is essentially a matter of musical feeling, and the opinions as to the time in which a piece should be played, will differ according to temperament, the mood of the moment, the manner of playing, and so on. Metronome indications have therefore little value; the Editor has never- theless made use of them, for the simple reason that no other method of mutual understanding exists. They are to be considered only a8 guides, approximate time-measurements; an exact performance, a mathematically precise playing of a piece according to the metronome indications is not intended. ‘Tempo should never be a strait-jacket into which Music ix forced, but rather a garment which yields to her form and contours, leaving her every freedom of movement and expression. b) Phrasing. From the legato signs which Bach himself has written, few as they are, one fact may be deduced with certainty, namely, that the phrasing of his pianoforte works has its origin in the bowing on the stringed instra- ments. And yet it would be a mistake to transfer the principle of change of bowing, unaltered, to the pianoforte, as hhas been done-in most editions. For each instrument is subject to its own laws; binding and detaching the notes on the pianoforte have quite a different effect from that on the violin; besides, it is one of the advantages of the pianoforte, that long phrases can be spun out without breaking off, (as in taking broath, or change of bow,) an advantage which it would be foolish to dis- regard. ‘Tho usual method of division into legato and staccato, — in which, for instance, of four semiquavers, one is played staccato, three legato, or two staccato and two legato — is apt to lead to severing what should be united, and to tutorially punctilious and fussy style, This kind of systematical arranging of certain notes is, indeed, often necessary, but it should be inwardly felt, more than expressly brought into prominenee, and should be made subordinate to the more important consideration of the enclosing line of the long-breathed phrase, just as in speaking, accentuation of words, and distinct articulation of syllables, are subordinate to undividedness and inflexion in whole sentences. In our edition, the greatest importance, therefore, has been attached to the “long-breathedness” of the phrases. — Among our conventional signs, there is unfortunately only one, for both phrasing and legato; where the curved line, therefore, is intonded only to signify the undividedness of the phrase, this is indicated by the words “non legato”; im certain places the curved line has been replaced by ® sign for a breathing-pause », or by separating the crooks of the quavers or semiquavers. b) Dynamic signs. All the editions, except Busoni’s, appear to the Editor to suffer from @ certain Inck of regular plan on the one hand, and, on the other, from an effeminacy, here out of place. ‘The sole guiding principle appears to be: dynamic changes at any cost, and generally, erescondo ascending, diminuendo descending; they betray themselves, by their manner of progression from bar to bar, as having originated at the writing-desk. ‘The architectural character of Bach's style is lacking in them, — the purity and clearness of his form, the grandeur and severity of his manner BB. 4306x of expression. There can be no doubt that, both for the structure, and the treatment of tone-values, the organ, with its different manuals and registers, is the model: we see this in the gradations of tone in terrace-form, in the distinct differentiation of the component parts, in great spaces, and in sharply-defined contrasts, Within these broad divisions, minor dynamic nuances are, by the nature of our modern instruments, both possible and necessary, but always of secondary importance. — The loftiness of the interpretation, the soaring flights of melodic thought must never be rendered petty by self-complacent crescendos and diminuendos. The touch, too, must always be virile, firm and vigorous, even in p, wich must never be vague or indistinctly murmuring, @) Pedal. ‘There is, even up to the present day, a wide-spread opinion that in Bach's works the pedal should be entirely avoided. The Editor considers this an exploded ides. As we reproduce his works on a completely ditferent, modem instrument, we have the right, and even the obligation, to make full use of all the expedients which this instrument places at our disposal. ‘The main point is, and must remain, that the spirit of the work should be revealed in its vitality, and that, in all points, highest artistic effect should be obtained. ‘The soft pedal should also be used; its prototype is found in the registers (e, g. “ute pedal”) of the old Clavicembali. In order to guard the student against incorrect and superfluous use of the pedal, the attempt has been made to indicate it, although this can naturally bo no more than a suggestion, as with so subtile and so individual a means of expression, the delicate sensibility of the ear can be the only judge, As soon as the student is sufficiently far advanced not to allow himself to impair the strict binding of the fingers by the use of the pedal, he should at once practise the pedal as well, as otherwise it will never become an unconscious habit with him. ‘The sign which we employ, _, owes its origin to Busoni, and illustrates tho movement of the foot: 4. Fingering. A. principle of fingering has been established, by which the greatest possible number of notes can be played in one position, and comprised into one group, so that the shifting of the hands is reduced to the least possible amount. A figure, followed by a line signifies that, for the length of the line, the finger indicated remains over the note, whilst the remaining notes are taken by the other fingers, in their natural order. ‘The principle of changing the fingers, introduced by Bulow, has been abandoned. As often as possible, the Editor ‘has given different fingerings for the same passage, in order to give the student an opportunity of becoming acquainted with every possibility, to stimulate him both to reflect, and to endeavour in playing to form a style of his own. ‘The Editor recommends the addition of that found within round brackets, (), and the omission of that within square brackets, [} Egon Petri. English translation by Mevanwy Roberta) EB, 4906Franzésische Suiten. Suites francesi. ‘ French Suites. Suites frangaises. SUITE I. Andante (#60) Allemande. serait Seb, Bach. ‘Weich und fliefend. ae es ‘ A f Ds _ 15 S Ada z 4 - ito nt rack von Brinn nari ate. Edition Brettkopf Nr. 4306. ara Coprrent8 wy Broth AM LapisCourante. Allegro risoluto (¢ : 408) Fest und kriftig. 5, Con fermessae vigore. & 34 6 ABdition Breitkop 2masaSarabande 8) Andante sostenuto (4 ; 63 a rr #4 a Pedal = mit jedem Viertel Pedale quasi ad ogni quarto ‘Verschl wna. ror OF expr, host. -Menuet I. Allegretto (d. - ss) “ 2 P, piacevole. Menuet II. Listesso tempo. 1 t ! *) Ausfdhrung entweder als langer oder kurver mschlg. | *) Appoggiatura eee ‘The execution either as a long. = or a short, ape appoggiatura. Prep ere Say nn ne EE cue BEsensa_ritard. Gique.12) Non troppo allegro, ben ritmato (¢ - #4) Bestimmt und geziigelt. Decteamente, est. (Das Thema 4 mal) 3 (Phe Himes’ A a aitimes) 4 Sots yet a is) ‘salita) (Dos Thema 3, mal) B (Phe Subject 8 times) Cl fema-entra Svolte) Cf fote te theme) 4 2 pag 7 (Kadenz) (Cadensa) e fost, con fermessa Baition BreitkopfDas Thema 4 mal in der Umkehrung) AGThe Subject 4 times in the inversion) I tema entra 4 volte rovesciato ) Le thime 4 fois en inversion) 4 (2 mal Sequens abwirts) Descending sequence twice) ‘Due sequense in discesa) (2 fois la séquence descendante) (Modulation 2um Halbschius) (Thema) (Modulation to the half close ) (Subject ) (Modulazione a chiusa imperfetta) (Tema) odutation a la cadence fictive) Saition Breitkopt amsiingfithrung in gerader und Gegenbewegung) fest (Glos imitation ix similar and contrary motion Et termesya —_B chesiringimento in movimento dine ® contrario) cen = (Sireteen moutement direct etn mousemen contra) ben én tempo dition Breitkopt aaa” SUITE II. Allemande. Larghetto (¢). 6s) 15) ‘Langsam, aber nicht schleppend. Lento, ma senza esagerasione. dole, pias BP ee oe pe = ‘Yerschbé: ‘Pedal auf jedem ‘Achtel wechseln ot Steambiait pedale ad ogni eroma. una corda Edition Breitkopt 27058Edition Breitkopt 27468Courante. Vivace (- : 0) Frisch. 2 SF, legg. la seconda volta ‘p_non eresc.) Ro es ‘ Raition Breitkopt 2758schwangvoll con alancio. (Sdition Breitkopt a7" Sarabande.19) Andante con espressione (¢ - 66) 20) 3 —_ 2 fe? ep 2 2 cai te 2 @P legato sempre sa 5 8 a 4& aa es Le Li Oe eee — Edition Breithopt ‘aaseAir.22) * Allegretto commodo (4 : 108) 2 i‘ Bp innocentamente piis risoluto melodicamente 28) 2 4 tT un poco pesante\ i ition Breitkopt erase16 Menuet. Allegro vivace (38) —_ 5 5 24), 5 se @ Bron troppo dolce 25) “ 7 srk 4 dole, lusingando Edition Broitkopt 745847 Menuet II. Inciner alten Handschrift findet sich nach dem Menuett noch fol- | In un veochio manoseritto al trova dopo il menuetto il seguente gendes Menuett II (Tria): menuetto II (Trio): Inan old Manuscript, the following Minuet 11 (Prio) is found af- | Dans un manuserit ancien, le menuet est euivi din menuet [(Tric). ter the Minuet. Tranquillo (d-- 66) 4 5 a & P, grasioso Réition Breithopt a7asaGique. Molto vivace e con fuoco (¢--82) 26), .t . 2 5 S ben ritmato Edition Breitkopt a7a5aEdition Breitkopt 27458SUITE III. Allemande. Moderato (Jos) 14 3 2 W (nalodioso 29) | Edition Breitkopt amepits espr. 33) SS it ht Ka mu uu tY V4 Béition Broitkopt arasaCourante. Allegro (d-- 2) 2 ,——_ —=—~_ SF; energicamente ft 34| #eee2d> Bdition Breitkopt 75423 —— . 2 ohne SS —— _ |38) at Andante (¢ - 76) dolce, espressivo Edition Breitkopf "1yna corda dition Breithopf ama5aMenuet. Allegrissimo (4. - 88) mit springendem Anschlag itaccetissimo, saltando 132 18 ‘p molto legg. a 248 volta f) stace. a) e 3 2 \¢a 2de volta p) Raition Breitkopt 27068Trio. Pi tranquillo Sten. Menuet da capo. see Anglaise.45) Allegro (¢ - 10a) oa Leicht und manter Leqgter ed a Leges ge 4 non troppo piano Bada # iad dj . so a fen. 4 8 ia Ro Edition Breitkopt area27 risoluto Edition Breitkopt 275428 Molto vivace (¢.-64), Gique. legat non legato ‘Baition BreitkoptEdition Breitkopt 27HSUITE IV. Priludium? Allegro (¢ = 438) (arpeagioy I Ped. ogni battuta, Bibliothek enthiilt das Pradudium und ie Gavotte TL, wolehe der Volletindigkelt wegen hier ihren Platz finden solfen, ‘obgleich beide Sticke hicht reeht in den Ramen der franaGsiachen Suften paseen: Kelner der Ubrigen Sulten geht ein Pri- Indium voran und die'Gavotte IKBt die Ic it der Fassung vermis- sen, die den anderen Bitzen dieser Sammlung elgen ist. Anders das Meguett, dae war nur in twel Handschriften vorkommt, sich aber nach Inhalt und Form diesem Werke eng ansehiiept. Eine Abschrift der Berli in the Berlin Library contains the Prelude, and the 2™Gx- pis Bam or'the sake of cordpictenese, may find plate here, ac piece quite fe th wiih the French Suites: None of the Suite ie rend by "Prelude, and in the Gavotte, the eoncisencs clint #9 ine other movements tn this collection ie Iscking. iin Uforent withthe Minch which although only found in tw aeripts, dlaplaye its close conneetion with tis work, both in form hd conten Edition Breitkopt ent mala K Bblioteca ai Renting contions i Pre aco ie wlan el ete ror an Se Es ngnenee bam ea iso Geis GS rargt oot tlle dite egauay th Feel ie oe mie eth thet ae Rene Serra cece eamettata scoters as oll maa ion toe natal a Be ae aes a wbittye ban snag oped 1 Hes ir aa aan tiene ee SLE ice yess a pa es Sele ae ee Sein eae Saintes bale intend etter scroll agen te wrt el cere xs nae fn gl gaa eh eta deta ioureze ane Ses copy cele male fal ai 27468Eaition Breitkopt a7a6432 Allemande. Tranquillo (¢ - 78) molto legato $ x ve BD z voll und si ; he. r e i 1 R x NM x nN usw. Edition Breitkopt arabsBaition Breitkopt a7asa3a Courante. Allegro (¢ - 128) ‘poco forte, melodic 3s 7 ~ er ee, ten, 55) ——E= ——"? Ped. jedes Viertel ad lib. Ped. ogni semiminima ad lib. Edition Breitkopf a7acaBaition Breitkopt 27858Sarabande. 57) ‘Andante sostenuto (d Pe roa Tegato egualmente Verschb; fe Taco: si noti Videa: + 7 erschbg.una corda Nerechhgame sore oN NN NN CF a tempo 5 eee lamabile, egualmente chno Verschbg. verechbg. eeloeres ny una corda VS x 4 ‘*)Die Keeinen Noten find \" © Le piccole note sf trovano in aleune copie. ‘The small notes are found in some copies. 27454, ‘Petites notes se rencontrent dans certaines copies.37 Sarabande. (Vollere Setzung. Armonia pit piena,) T 5 F Ye Heller _| pit chiaro rer | plus clair voll und weich | con voce piena © morbida Full and metiow | plein et dour pits expr. - 2) Die Aldkorde kiinnen auch weich arpeggiert werden. 2) Gli accordi possono anche essere dolcemente arpeggiati, “The chords can also be played with gentle arpeggio. ‘accorde peuvent étre doucement arpegés. dition Breitkopt Played with gon38 Gavotte. Allegramente (d = 88) eet ieee! 59)s_> a2 (4) SSP 9 4 = nf ae ‘pits legg. =~ Edition Breitkopt38 Gavotte II. Allegro (d = 100) Gemichioh: lied ne Edition Breitkopt asess tt T. 3 3 re dition Broitkopt amasAllegretto (¢ =g2) B, grasioso, piacevole Edition Breitkopf 2768 aaaz Con moto (¢ - tos) ip shr flieBend molto leggiero lusingando—~ Edition Breitkopf a7as8P, semplice te, 7 Fi Ped. wio zu Anfang V1 Ped. come prima Edition Breitkopf a7Gique. Molto vivace (¢:- = 420) safes Frisch und lustig 5 (— Gato ¢ gioioro. Sima legg. Ses 2) T t ¥ 7 2 8 Bs ee wu Vee uu 14 2 it? ie 2 1 13 = aos z 1 4 Fl 7 ood D pee £ schwangvoll con slancio Bdition Breitkopf 2758as ak tternd + G6) squillante™ a8) 2 a H KN R xX A Hl Edition Breitkopt a7as8SUITE V. Allemande.67) Andante, molto tranquillo (¢ - 72) nm re Po oad yfate FG. 2 \n___n_n_ Pedal! ungefir jedes Achtel ‘Pedale quasi ad ogni croma 2 pili,p ¢ legato, tranguillo = = 5 a a to. 3 = Ped. ungefiihr jedes Viertel Ped. presto a pico ad ogni quarto di misura abd nary senza Ped. Ped. jedes Achtel ——) Ys Bed. ad ogni croma Baition Breitkopt 27054: ” einlenkend ripiegando, sich ausbreitend estendendosi 7 a? Ped. wie zu Anfang & Ped. come prima Edition Breitkopt 2A7 Courante. Con brio (¢ - 128) Kernig und ‘schwungvoll Vigorosoe con brio & SF, non legato sempre stace. © 52 6 2 © con Bad lib, Edition Breltkopt arsea9 t (Fea wie oben) ‘Ped. come sopra) Baition Breitkopf 2786850 Sarabande.70) Andante molto sostenuto e cantabile & 2 ay az a il canto forte, ma dolce breit largamente igernd aumentandoEdition Breitkopt 27454Gavotte. Vivacissimo e giocoso (d - 116) . : i 4 1 Silegg.e stace. umoristico \ \__1 senza Ped. Edition Breitkopf amaseAllegro molto (d - 108) Bourrée.71) Hell und friseh Gato e baldansoso 2 ot Ss Edition Breitkopf a= = @) Di Tage wtets lang, wie friiher angegeben, eee nie wah » tena poe aa aaa EGR sceutviaceparey anna | PHaatuzeednil Grae wah eet aca, Edition Breithopt a7asa55 Gique.72) Molto vivace, quasi presto 73) Ve fl S non legato ben articolate Bott $ Edition Breitkop? a7ase56 Edition Breitkopt 27458, sensa ritard. Edition Breitkopf amanSUITE VI. Allemande.79) Allegro (¢- 120) leggiero, non troppo legato A nares 3 348 12 3 3 ? |so) Edition Rreitkopf 27858a2 4319 Edition Breitkopt 27468Courante. Allegro molto e eon brio (d- 198)88) 3 2 st SF brillante, non lege ———$ ee | stace. A np = 5 (m.s:) uw Ww 5 7 Edition Breitkopt 27454statt: inveoe dé: Edition Breitkopf 27404 eSarabande.85) Lento mit igrofem, breiten Ton con Buono grande ¢ largo con somma espressione quasi forte doleissimo subito ‘Verschbg. x ng Edition Breitkopt 278iu expr. Gie ru Anfang) (rine ne prob tr Gavotte. Vivace, ma misurato (J = 9¢-100) fréhlic a gag 8 non trompo forte. | Edition Breitkopf amePolonaise. Allegretto, con tenerezza (¢ - 108) 91) vente. 4 P, tranguillo, amabile + Reda ungefihr jedes Viertl le preaso a poco ad ogni semiminima nit Verschbg. 2, z pit espr. ohne Verschbg. ry 5 ‘mit tre corde Verachhg. una corda grasioso Bourrée. 92) 4 7 Molto allegro (4 - 188) > S jas Edition Breitkopt65 | | | | | Edition Breitkopf 2758Vivace (J-60) 98) + Ba —_ 7 7 8 p dolce, piacevole m.Verschbg. . wna conde flieBend scorrevolnionte Allegrissimo (¢-= 408) a 3 S stace. Gs eS UR Edition Breitkopt 275467 ir Edition Breitkopt 2764 oppiiredition BreitkoptFranzésische Suiten I—VI. Suite I. 1. In dicoor Allemande, wie such bei tholich geartoton Stiicken im Verlauf dieser Sammlung, bat ea der Herauageber unterlassen, Phrasierungebigen anzugeben und sich damit be- gnilgt, bei Stellen, dio cin merkliches Atemholen verlangen, die Einschnitto mit // xu bezeichnen. Die sich obne Thema, Ja beinahe ohne Motiv entwickelnden Stimmen bilden lang itmige, an- und absteigende melodische Linien, die ruhig und gebunden dahinfioBen. Jede diesor Linien mull als ein Ganzea xofihlt werden und gleichsam die erste und letzte Note in einem ‘weiten Bogen tiberspannen. Die Fihigkeit, in dem Sinken und Steigen der ‘Tine dieselbe Schinbeit zu’ empfinden wie im Schweben des Vogels oder im Schwanken des Zweiges, ist cine Grundbedingang, um diese Tonfolgen, die sonst nur nichts- sagende Passagen bleiben wiirden, mit Leben und Bereelung zu erfllen 2. Der Mordent hier besser mit groBer Sekunde, obgleich auch fis richtig ist. Ubrigens kinnen auch alle Mordente in diesem Satze woggelassen werden. 'B. Das der Courante zugrande liegonde Motiv ist stots mit cinom kriftigen Wart suf die héchste Note hin zu spielen. Die angegebene Pedalisierung dient dazu, das Crescendo zu unterstitzen und sozusagen die Phrase auf don Akzent hinaufzuachwingen — eine Art des Pedalgebrauchs, merkwirdigerweite fast nie gelehrt wird, 4, Hier wechselt der Rhythmus; der %y Takt wird zum 4 Takt — dies ist oin chsraktoristisches Merkmal der Courante. ‘B. In diesom und den beiden vorhergehenden Takten findet cine Art Engftihrung des Hauptmotivs statt. Die Umkehrang dessolben am Anfang des zweiten Toile bedarf kaum einer Er- wwilhnung. G. Dioses kleine Stick ist ein Wunder von Binfachbeit, Proportion und Gefihl. Kine Melodio von 8 Takton wird dreimal wioderholt; die Modulation Ieitot das erstemal zur Dominante, das zweitomal zor Unterdominante, von da zurtick zur Tonika, Der erste und dritte Teil entsprechen sich durch den stufenweise sinkenden Bas, und da im zweiten Teile s0~ wohl der Lago als dem Ausdruck nach die Hohe erreicht wird, so kann die Empfindungslinie als sinkend — steigend — sinkend — bezeichnet werden. In der Tat, ein einfacheres und reineres Verhiltnis 1aQt sich kaum denken. Aber was weit erstaunlicher ist: Bach hat in diese Tanzform soviel Innig- eit und goliuterten Schmerz zu legen gewult, daft wir die Sarabande als cine Schwestor der Passions-Chorile zu betrach- ten und sie in diesem Sinne 2u intorprotieren berecktigt sind, So muf 2. B. der SchluBakkord (D-dur) nach dom Vorherge- ‘gangenen wie ein versshnlicher, verklirender Lichtstrabl wirken 7. Die sbsteigends Figur’ von 4 Noton mab stets mit einem gewissen Klagenden Ausdruck goapielt werden — etwas »Gobougtese —, dor allerdings nie in ein aufdring- liches Schwellen susarten darf. 8. Das a als Melodiebestandteil des Soprans ist sticker sozuschlagen sla das dardberliegendo ois des Alts 9, Hier springt die Melodie vom Baf in den Sopran & 10, Es ist nicht ndtig, den Triller mitzuspiclen, doch ist os als Ubung vorteilbatt, ihn, und zwar wie folgt, auszuflhren: pi ze as UL. Bei diesor Art dor Fingersetzung bemthe man sich nicht, mit dom Finger au binden, d. b.,mit dem einen Finger French Suites I-VI. Suite I. 1, In this Allemande, as in other similar piooe in this collection, the Editor has refrained from giving the phrasing marks (curved lines), considering it sufficient, at places ‘hich obviously require «breathing pause, to indicate the cacsura by the sign //. ‘The voices, or parts, which evolve without « theme, indéed almost without a motive, form long breathed, rising and falling melodie lines, flowing along smoothly and uninterruptedly. Bach of these lines must: be felt ax a whole, and must, as it wero, form a wide arch, spanning the spage botwoon the first snd last notes. ‘The ability of pore ing’ in the rise and fell of the tones the same beauty as in the soaring of a bird, or in the swaying of a branch in the wind, is an indispensable condition, in order to imbue these successions of tones, which would otherwise remain mere mesn- ingless passages, with life and soul. 2. Tho Mordent here is better with the major second, although F'# is also correct. It is permissible, moreover, to omit all the mordents in this movement. ‘B. ‘Tho motive which forms the basis of the Courante should always be played with a powerful swing up to the highest note. The pedalling indicated serves to aupport the cresvendo, and to cause the phrase as it were to vault up to the aocent,—a manner of using the pedal, which strangely enough is hardly ever taught ‘AL. The rhythm changes here; the 3/y time becomes #/4—thie is a characteristic attribute of the Courante. 5. In this and im the two provious bars, a kind of close imitation of the principal motive oocurs. Its inversion at the beginning of the second part scarcely needs mentioning. G. This little picco is a marvol of simplicity, proportion, and feeling. A melody of 8 bars is repeated three times; the firat time it modulates to the Dominant, the second time to the Sub-dominant, and from there back’ to the ‘Tonic, ‘The firet and third parts correspond, with their gradually descend- ing bass, and as the highest point, both in position and ex- pression, is reached in the sccond part, the line felt may be described as falling—rising—falling’ Indeed, it is hardly possible to conceive of purer or more simple proportionatenesa But whet is still more astonishing: Bach bas managed to put s0 much of deep feeling, and exalted suffering into this dance- form, that we are justified im considering thie Sarabande as a “Sister” of the Passion-Chorales, and in interpreting it in this sense. ‘Thus, for example, the concluding cbord (D major) after what has gone before, should have the effect of a con- ciliatory, transfiguring ray of light. "7. The descending figure of four notes must always be played with’ a certain mournfal, lamenting expression,—it has some- thing “cast down” and dejected about it,—which on the other hand must never be allowed to degenerate into an obtrusive increase in loudness. ‘8. Tho A in the soprano, as a constituent part of the melody, should bo struck louder than the C# of the alto found above it 9. Here the melody shifts from the bass to the soprano. 1O. Tt is not necessary to play this trill, but it is bene ficial as an exorcise, and should be executed aa follows TE VL. With this kind of fingering, it is not necessary to endeavour to bind the notes with the fingers, i.e. to attempt B.B.4306.2 jiber oder unter dem anderen wegzuklettern, sondern man spiele | Gig cine Position za Ende und-ricke dana schnell (aber chne | Akzont!) Arm und Hand seitwtits, 20 dal! Keine Drebung der Hand slattindet. Dabei dart der lette Finger der ersten Po- sition nicht au frth Toslesen, 12. Die Gigue ist vine innerhalb der Repettionsform regel- recht datchgefthte dreistinmige Fuge; der sinsige Fell dieser ‘Ae inden franzteischen Suite, “Fur den Mangel an Modulation tnlechtdigt der eichere Tnbalt des sweiton ‘Teiler, der durch die Erwetterung deo Zivichenepieles von 3. auf ® Takte (in | denen. auch das Thema einmal auftritt) und die Bngfthrang | tine Steigerong gegentber dem ersten ‘eile. darstel | 18, Polgende Verteilung und Dynamik wird den Charakter dos Themas am besten verdeutlichen 233 Da die Sechzehutel erfahrungegemal stets xu stark genommen | worden, stelle man sich die 4 Taktschlige sls forte, alles | Daswischenliegende als piano vor, Beim Uben athle men 4 suf jedes Viertel, damit die punktierte Gruppe nicht den An- schein einer Triole erhalte. Die Zweiunddreitigetl sind streng im Takt und non legeto zu apiclen. Von erese, und dim, hat der Herausgeber abgeseben, da die Wirkung dieser Gigue in dem hartaickigen Beharren auf ein und derselben rhythaischen Tee besteht, 0 dat jedes Abnehmen der Tonstirke ein Er lahmen der Energie bedeuten wird TA, Zu den drei Stimmen tritt hier das tiefe a als Pedal- stimme hing. Suite II, | AG, Die Tempobestimmang »Andante, J 69« (Bischoff) ver~ | leiht dem Satz ein naives, flichtig-spielfrisches Geprige, das dom Herausgeber mit der darin enthaltonen ernsten Nachdenk- lichkeit nicht 2u harmonieren scheint. So ist es 2. B. unmig- lich, die tiefe Melancholie der drei SchluBtakte — im dritten exhebt sich dic Melodie noch cinmal, dem letzten Aufflackern siner verldschenden Flamme gleich — in diesem eiligen Zeitmal villig auszuschépfen. Doch versuche der Schiller beide Arten der Interpretation, da dies der einzige Weg fir ihn sein wird, um in diesem Punkte za ciner selbstindigen Auffassung a0 gelangen, 1G. Die durchaingige Verdoppelung der sebreitenden BaS- stimme in der tieferen Oktave, nach dem Vorbilde des 16 Fu8- registers auf der Orgel und dem damaligen Clavicombalo, er- | scheint hior angebracht, um der Seteart cine dunklereSchattiorung und griBere Fille zu geben. Die Tenorstimme wird in Fallen, wo die recbte Hand sie nicht themehmen kann, auf folgende Weise am vertoilon sein | nba. ees to use the one finger to climb over or under the other; the one position should be played to its finish, then the arm and hand should be quickly shifted sideways, (but without any accent!) so that the hand does not turn. Care should be taken not to let go the last finger of the first position too soon, 12. The Gigue is a eorrectly worked out 3-part fugue, within the repetition form,—the only specimen of this kind in the French Suites. The lack of modulation is made up for dy the richer contents of the second portion, which compared with the first, is worked up and intensified, by extending the nterlude from 3 to 5 burs, in which the theme occurs once) and by the Stretto 18. The following division of the hands, and dynamic treat ment, will best elucidate the charactor of the theme: As experience shows us that the semiquavers are always played too loud, it is best to imagine that the 4 beats of the bar are forte, all which lies between them, piano. When Practising, count 4 on each crotehet, so that the dotted group does not acquire the semblance of a triplet. The demi-temi- quavers must be played in atrict time, and non legato. ‘The Editor has refrained from all eresc. and dim. elfect of this Gigue depends on the obstinate persistence of one and the same rhythmical idea, 20 that any decrease in tone would signify flagging of energs 14, The low 4 is added to the as the parts here as a pedal-note. Suite II. 15. The tempo indication “Andante, |= 69” (Bischof?) gives the movement somewhat ingenuous, “superficial and trifling character, which, to the Editor, does not seom to harmonize with the earnest thoughtfulness contained in it. Thus, for instance, it is impossible in this huvvied tempo, to fully bring out the deep melancholy of the three concluding bars—in the third of which, the melody arises onco more, like the last flicker- ing of a dying flame. But the student should try both forme of interpretation, this being the only way for him to arrive at an independent reading on this point. 1G, it is advisable to double the progressing bass-part here, by taking the lower octave as well throughout, after the model of the 16-feet stop on the organ and the clavicembalo of that period, in order to give the setting more depth of colour, and sreater fulness of tone. In eases in which the right hand cannot take the tenorpart, it must be distributed in the following Auferdem Takt 15: And again Bar 15: BB 4508,Im 12. Takt kann man rechts folgende Fullnoten hinzuftige * Fir den SchluS wihle man bei der Ausfbrang ohne Ok- taven die entschieden reichere und schinere Variante des Basses 17, Bs kann nicht gonug botont werden, daB solche Stellen streng 2weistimmig auszufihren sind. Dies wird am besten erreicht, indem man eine der beiden Stimmen stirker ale die andere spielt. Man denke an awei Fiden von vorschiedener Farbe. ‘AS. Der Fall, da® fir cine Stelle vier verschie. arten vorliegen — davon drei von Bachs eigener Hand, die vierte von der seines Schillers Gerber — erscheint cin will- Kommener Anla®, um durch Vergleichung der Abwoichungen einen Eimblick in des Komponisten Arbeitsweise za gewinnen ‘und augleich daran mu studieren, aaf wie verschiedenen Wegen ein und dasselbe Problem gelist’ werden kann. Hier handelte es sich um folgendes: Die letzten 7 Takte sollten 0 bleiben wie sie waren; von dem achtletzten (T 50) stand die Idee des hohen ¢ als Kulminationspunkt fest. Nun 7.38 inte dees yon dam Abord QE ane ingendvie or reicht werden. Am cinfschsten bewerkstelligt dies die alteste ‘Version (Variente I), 10 Tee Variante I (3 Takte) die dintonisch in Dreiklingen sich zum o exhebt, gen Perioden bleiben gewahrt; der zweite Toil enthilt, ebenso wie der erste, 24 Takte. Doch wirkt hier der Scblu8 au ab- rupt und dio Verbindung zu kurz. Variante II vordoppolt die Anzahl der Takte: Variante II (6 Takte) Gerber a doch steigt die Linie zu schvell zum 9 empor und mut bei *) wieder anf 7 sinken, um nocbmals iber g nach ¢ 2a gelangen Uan diesen Mangel zu verbessera, wurde wabracheinlich Var. IIT sgeechrioben: Variante IIT (9 Takte) @ or hier senkt sich die Oberstimme suerst durch 6 Takte, um dann plitelich mit einem Dezimensprung bei **) das hihere Nivean Die Atakti- | ce) o. 3 In Bar 12, the following filling-up notes may be added in the rb. 7s If played withont octaves, the variant of the bass, which is decidedly richer and more beautiful, should be chosen for the conclusion, 17. The importance of a strict two-part rondering of suc passages cannot be sufficiently emphasized. This will be best accomplished by playing one of the two parts louder than the other. Imagine two threads of different colours, 18, ‘ho fact that for one passage, four different readings exist—of which, three are from Bach's own pon, the fourth from that of his pupil Gerber,—alfords a welcome’ opportunity of gaining an insight into the composer's methods of workin and at the samo time of leaning from it, in what different ways one and the same problem may be solved. in this case, the following is the point in question: ‘Whe last 7 bars were to remain as they were; in the seventh before the last, (Bar 50) the idea of the high (as culminating point stood Srw Now this Chad to be reached in some way from the chord (Bar 38 EERE. me ingest method of achieving thi i attained in the oldest version, (Variant I) Variant I (8 bars) which rises diatonically to the Cin triads. ‘The 4-bar periods remain intact; the second part, like the first, contains 24 bars. But the conclusion hat too abrapt au effect, the connection is too short. Variant II doubles the number of ‘Variant IT (6 bary) » (Gerber) _— | bt, fhe line rises too rapidly to the G, and at *) has to drop to F again, in order once more, by way of @, to reach C. | 1k is moat probable that Variant IIT was written to amend thi jofect: ») ‘Variant IIT (9 bary) ‘an. hore, the highest part desconds at firet through 6 bars, sud then’ suddenly, with a leap of a tonth, at **) gains the higher B.B.4306,4 au gewinnen. Aber dieser Sprung hat etwas Gewaltsames, auch | ist die Sequenz des Basses nicht mehr so logisch wie in Var. TL. Die 4Taktigkeit der Perioden wird in den beiden letzten Pas- sungen aufgegeben. Die als Text. gedruckte Version nun list alle diese Schwierigkeiten auf die glatteste Art. Man verfolge ie harmonische Fubrung der Linie: Steigen von ¢ nach g (6 Takte), absteigende Tonleiter 2um tiefen c (2 Takte), von dessen Sexto aus die Oberstimme auf ungezwungene Weise diatonisch das hohe c (5 Takte) erreicht. Der Ba hat eine in Gegenbewegung zum Diskant fortschreitende streng logische Sequenzform erhalten und, wenn die Takte 88—37 al weiterte Periode (5 statt 4 Takte) hetrachtet werden, bleibt die Ataktige Gliederang wiederum gewabrt. ‘Wenn auch die hier angenommene Aufeinanderfolge der ‘Varianten nicht feststeht, s0 ist sie doch auch chronologisch wahrsecheinlich, Merkwirdig ist hierbei das Verhiltnis der Ausdehnang: die Anzahl der Takte wichst von 8 tber 6 und 9 auf 12 an. 19, Die Sarabande besteht aus 3 Teilen ru je 8 Takten. Jede viertaktige Poriode beginnt mit dom Hauptmotiv, doch ist im dritten Teil die Figur SSeS. bh Ea veriindert worden, um eine allzu strenge Symmetric zu ver- meiden. Auch wird damit und durch die 3malige Wieder- hholung dieses Taktes in aufsteigender Linie dem letzten Drittel | grifere Einheit und stirkere SchluBbedeutung verliehen, 20, Die Bogen sind sum gréften Teil handschriftlich ber liefert und wurden vom Herausgeber erginzt. Sie bedenten mebr die Zusammengehorigkeit der Gruppen im legato, als cine Tronnung der einzelnon Phrason durch Absctzen (Atembolen) Der Bogenwechsel auf der Geige, ohne Verlassen dor Saiten, | hhat dem Komponisten unzweifelhatt bei dieser Notierang vor~ geschwebt, 2M. Buch liebt es, die erhzhte Sexte und Septime der auf steigenden Molltonleiter auch absteigend zu gobranchen, (Ver= gleiche den Schla8 des »Aire,) Einige Handschriften haben Bund as, doch wirkt h—a bei woitem herber und schéner. 22. Bei diesem und dem folgenden Stick kann das Wieder bolungszeichen in Hinblick auf don Bau der Komposition nicht als Abschnitt eines Teiles angenommen werden, da offenbar beide Stucke aus zwei Teilon hosteben (2 mal 8 baw. 16 Takte), doren jeder wieder in 2wei Hislften anflésbar ist. Der Anfang des aweiten elles ist durch die »Umkehre der Modulation Folgende Zeichnung soll diesen Gedanken level. But this leap is somewhat violent, and the sequence in the bass is not so logical as in Var. II. ‘The 4-bar arrangement of the periods is abandoned in the two last forme. ‘The version as found in the text gives the clearest solution of all these difficulties. ‘Following the harmonie treatment of the line, we find: Ascent from C to @ (6 bars), a descending seale to the low C, (2 bars) from tho sixth of which, the highest part reaches the high C diatonically, in an unconstrained manner (5 bars) ‘The bass has been given a strictly logical sequence-form, pro gressing in contrary motion to the soprano, and again, if bars 53-37 be regarded as an enlarged period, {6 instead of 4 bars) the d-bar structure is preserved. Byen if the succession of the variants as assumed here is not an established fact, it is at least chronologically pro- able. With respect to this, the proportion of the extensiot is worthy of note: the number of bars increases from 3 to 6, then 9, finally reaching 12. 19. The Sarabande consists of 3 sections of 8 bars each Bach four-bar period begins with the principal subject, but in | the third section, the figure: ears (eae too strict a symmetrical arrangement. ‘Thereby, too, as well as by the threefold repetition of this bar, in an ascending line, the third and last part acquires more uniformity, and greater importance as conclusion. 26, Tho alte have for the most past boen transmitied to tus in Bach's own handwriting, and have boon supplemented by the Editor. They indicate the close relationship of the groups in legato, rather than a separation of the several phrases, by breaking off (taking breath). In this notation, chango of bowing on the violin, without leaving the strings, was doubtless in the composer's mind, BL, Bach is fond of using the raised Sixth and Seventh of the ascending minor scale also in descending. (Compare the conclusion of the “Air”.) Some manuscripts have By and A>, but the effect of B and A is both severer and more beautiful by far 22. In this and in the following piece, the repetition mark cannot be regarded as forming a section of a portion, com jering the structure of the composition; ae evidently, both pieces consist of two portions, (8, respectively 16 bars, occar- ing twice each) each of which again subdivides into, two’ halves ‘The beginning of the second portion is chat “return” in the modulation. ‘The following sketch serves to illustrate this idea is changed to: EB 4506.5 Verfolgt man beim Spiclen des Stiickes im Geisto diesen | If when playing this piece, this circular figure is borne in Kreis (den man sich aufrechtstehend mu denken hat), so wird | mind (it must be considered as standing erect) the clearness a fiber die Deutlichkeit des Ansteigens, Umkehrens, Ab- | of the rise, roturn, fall, and close will cause surprise. steigens und Schlieflens tborrascht, sein. BB, Die Auflésung des g in f wird von der Oberstimme in | 28, ‘The resolution of the @ into F is taken over by the der hoheren Oktave ibernommen, Dadurch wird die urepring- | highest part in the higher Octave. By this means the original liche harmonische Tdee (vgl. Tak 1}: harmonic ides (compare Bar 1): t geindert. Die »Verbeeserunge des as in g klingt dagegen sehr } is changed. ‘The “correction” of the Ab into G, on the other mat hond, sounds very insipid. ‘2A, Die Bogen sind euthontisch. (Vgl. Anm. 20.) Die 6Noten | BAL. ‘The phrasing marks are authentic (Compare Remark 20). jeder Gruppe miissen als ein Ganzes gefthlt werden The 6 notes of each group must be felt as one whole 2B. Dicselbe »Umkohre wie beim vorigen Stick mittele ab-| 28. ‘The same “return” as found in the preceding piece, wirtosteigender Sequenten. Die Zweiteligkeitist hier noch augen- | by means of descending sequences. ‘The arrangement in two scbeinlicher, da die Hauptionart erst am Schlu des 2. Teiles | portions is even clearer here, as the principal Key is only erreicht wird. reached at the end of the 2% portion. 26. Bei der Ausfibrung dieses Rhythmus wird gewobolich | 2G, In executing this rhythm, the 3° quaver is generally das Bo Stel tberhastet und das 16tel nicht leicht gonug ge- | taken too hurriedly, and the semiquaver not lightly enougt nommen. Auch mul dio punktiorte Note beinahe Gberirisben | The length of the dotted note, should aleo, if anything, bo lang gehalten werden. Am besten stellt man sich das 16tel | exaggerated. Tt in best to imagine the semiquaver es an’ ap~ als Vorsehlagsnote zum Sten Stel vor und wartet dann einen | poggiatura to the 3° quaver, and then wait an instant before Augenblick vor dem Anfang des folgonden Taktes. Dio dy- | beginning the following bar. The dynamic. shading should be | — [T7 as follows: @ 3. BOS mp FoF mf Die Pralltrilr und Mordento bleiben beim Vorirag am | It is better to omit the Pralltriller and the Mordents, when besten weg, doch tut der Schiler gut daran, sie beim Uben mit- | playing the piece, but the student would do weil to play thom: zuspielen, da auf diese Weise das Stick au einer ausgozeichneten | when practising, as in this way the piece serves as an excellent Fingerstudio wird. Die beiden Verzierungmnoten kinnen vor- | finger-study. The two grace-notes may be taken in advance ausgenommen werden (vgl. das Vorwort unter >Vergierangens). | (compare the Prefaco, under “Graces”), ‘The fingering indi. Der angegebene Fingersaiz ist fir dio Ausfthrung ohne | cated is intended for execution without graces Manieren berechnet. 27, Hier beginnt, nach beendetem aweiten (Durchfiihrungs-) | 27%. ‘The return towards the end, after the completion of eile, der den Hohepunkt enthilt, die Wendung zum Schlusse. | the second part (Development) which contains the culminating oink begins here 2S. Die 16tel dirfen nicht >dovonlaufone, da durch sie | ' 8. ‘These semiquavers must not “run away", as the dotted hindurch immer noch der punktiorte Rhythmus gefilt werden | rhythm from which they are derived, must still be clearly felt mul, sus dem sie entstanden sind. Das 8maligo fim Ba | through them. The F throe times in the bass must produce muB groBe Hartuiickigkeit ansdriicken. the effect of great obstinacy namische Schattierung ist folgende: Suite II. Suite IIT. 29. Auber der angogebonen, die melodisse Seite betonenden | 2, Ti addition to the reading given, which emphasizes the Auffassung ist auch noch eine andere Tnterpretation miglich, | melodious side of the piece, another interpretstion is also die das Gewicht mebr auf die rhythmische Energie legt. | possible, one in which more stress is laid on rhythmical Dann verlangt der Satz cin beinahe ununterbrochenes Forte, | energy. In the latter case, the movement demands an almost hiufigeren Podalgebrauch und cin etwas schnelleres Tempo. | uninterrupted forte, frequent use of the pedal, and a somewhat Beide Arten haben ihro Berochtigung, quicker tempo. Both methods are justifiable. 80, Auf dem 2ten Sochzehntal vollzicht sich die Umdeutung The 2* semiquaver is the point at which the chango des Daur-Dreiklange in den Sextakkord von linoll. of the Dimajor triad into the chord of the Sixth of Bminor is accomplished. BLL, Dioco beiden Takte, die, ohne den Sion zu stdren, fehlen | 331. ‘The object of these two bars, which, without interfering kinnten, haben die Aufgabe, durch Verzdgerang dem Schluf- | with the sonse, might quite well be lacking, is to lend greater take griere Schwere 20. verleihen, importance to the concluding bar, by delaying it, 82. Die folgenden 21), Takte sind eine Transposition der | 3. The following 24/, bars are a transposition of bars 14-16. Takto 14-16, BB. Dioselbe Erweiterung wie am Ende des ersten Teilos, | 8B, The same extension as found at the end of the first nur wird die Wirkung noch durch den TrugschluG nach Hmoll | part, only here the effect is enhanced by the Interrupted Cadence erbght. Hier tritt cum erston Male wioder die Originalgestalt | to minor. Here the original form’ of tho principal motive des Hauptmotivs suf, das im zwoiten Teile sonst nur in der | appears again for the first time, having been employed in the Tnversion gebraucht ‘wird. Ubrigens ist der ganze Satz nur | second part only in the inversion- The whole movement, more. wrt nn an Rap ebildo over, is derived solely from the one motive Pot@—= aap RS. : ren tn in a BB.4906,BA, Die Achtel dieses Motivs, das den Keim der Courante Bilder, sind nicht zu schwer {obwohl achr shythmisch) und auf | das 4te Viertel hin zu spielen; dieses stellt den »Schlage dar, | zu dom dio Achtel das »Ausholen« bedeuten. | 35. Es wurde schon bei der 1. Suite bemerkt, dal das Schwanken awisshen zwei- und dreiciliger Toktart cin besom eres Kennseichen der Couranta ist. Hier spelt die techto Hand in, dio Linke in My-Tukt. Man lege das Gewicht sf den Rhythmos der rechton Hand, wore auch der vore seachricbene Podalgebrouch belteagen sol 36. wie 35. “se 37, Folgende Vorstellung wird diese schwierige Stelle — zu der cine grote Unabhangighit beider Hinde voncinander or- fordert wind — erlichtern helfon Noch cin wichtigos Hilfamittel soi hier empfoblen: die Linke | Hand als fuhrend zu empfinden und forto xa spielen; die wehte begleitend und piano. Die Unbeholfenheit der linken Hand beruht cum grofien oil daraaf, dal! wir stots unser Angenmerk auf die rechte Hand richten und die linke nur >milcepiclen lassen BS. Der gleiche Pall wie bei 38. nit, Tragschlas. BY. Dio Form der Sarabande zeigt 8 Teile von 8 Takten, deren jeder aus 4 ‘Pelton Vordersats und 4 Takten Nachsatz (in 16teln) besteht. Yn don letzten 4 Takten treten Vorder und Nacbsalz gusammon aut Erweiterung, verbunden pe ttte o~ te pete AML, Der Querstand erklirt sich dadureh, da das obere g nach fis surticketrebt, wihrond dio Unterstiname Uber git-cais nach h aufateigt: dd yy titiense Dabei wird ais—h von der Ballstimme tibernommen, eine Art >Stimmenvertauschunge, die bei Bach sehr hiiufig ist, Diese Lesart ist unbedingt die harmonisch reizvollere umd mugleich als Linienfihrang dio befriedigendere. | M2, Darch Anbringung swoier Vorschlagsnoten tritt das ‘Thema in seiner morat gehiirten Form zutage: MO. Umschreibung von: AB, Wird diese Nuance angewendet, so maf die Repetition chenfalls 8 Takte piano und § Takte forte gespielt werden. AM. Umkehrung des Hauptmotiva AS. Dio Form der Anglaise ist 2teilig [2mal 16 'Takte) wie beim >Aire und »Menuett I< der Omoll-Suite. AG, Bs ist grofes Gewicht darauf zu legen, dali die Zwoie stimmigkeit der linken Hand stets doutlich zu Gehér komme. Anfler dem strengen Beachten der Notenwerte ist dazu ndtic, da to Viertel leicht und gostolten, die Halben dagegen mit Nachdruck und gohalton gospielt werden BA. The quovers of this motive, which contain the grm af the Courant, should ot be ployed to heavily [aihoash voy Fiythmieally) and all a though tondiog towards she 4 sake {hte oiehot saprecent the "jump", se 10 wore, for which ths Atavers were tho spreparntory ran? ‘BB. Te ho lrondy boon remarked in th 1"Suite tha the vie Jasin between dupla and tiple tine is characteris fosters Of the Gourante, Here the ight hand plage ta yor the lek in Hg time, Greater importance shoul be given to the rth of the right hand, andthe avo ofthe pedal. ae indated bom, ‘ater te tia 3G. As at 35. 87. The idea expressed in the following will help to facilitate thie dicat passage, whieh, demande” that each hand te independent af the ether: ' fy a teed Anothor important help i also recommended, vi: to consider fhe Loft hand an the lending pare aud to play ib foste, tne Tight as accompaniment, sudipinno” ‘The fac at out atetion in always tamed to the right hand, andthe loft i st allowed to play “with? it is for the most part responsible for the Dokyardness of He Tet hands BS. Tho sme case as at 33.—Extension, together with an Interipied Cadenoo 89. The Form of the Sarabande displays 3 portions of 8 lars, each of high consists of 4 bars antecelen sestion (Vordoraty) "and bars relative section (Nass) tuavers In the last 4 bare Oye anecedent and relative nee Eons appear together ee P tte 2 NO. Paraphrase of: Gt f ALL, Tho Falso Relation is explained by the fact thet the upper @ tends back to JP4 while the lower voice ascends by way of G44 to B: descending ascending At the same time A#B are taken over by the bass-voice, a kind of “Bxchange of Parta” frequently employed by Back ‘This reading is decidedly the more attractive harmonically, and at the same time the more satisfactory as treatment of the line, 42. By the introduction of two grace-notes, the theme appears in the form in which it was first heard 43. It this nuance is employed, the repetition must likewise be played 8 bare piano and 8 bars forte. AL Inversion of the principal subject. AS. The form of the Anglaise is two-part (twico 16 bars) as in the “Air”, and “Minuet I” in the Ominor Suite, AG. It is of the greatest importance that the two-part character of the left hand should always be distinctly discernible, Besides strict attontion to the values of the notes, it iv necessary for this purpose that the erotchets should be played lightly ‘and short, while the minims should be emphasized and sustained. E.B.4900,47. Dieses erneute »Anlauinebmen« in den letzten Takten | ist fr die Backache Kompositionsweise, sowohl in Iebhaften tls auch lengeamen Sitzen, charakteristisch und dient daza, dem Schlusse die nbtige Energie und Spitze m geben ABS. Aus dieser gozuckton Sechzobntolfigur mul immer der | Rhythmas des ‘Themas herausgehért werden 7 AZ. This renewed “start” in the last bars is characteristic of Bach's manner of composition, as well in quick as in slow movements, and serves to give the necessary energy and point to the conclusion, AS. In this jagged semiquaver figure, the rhythm of the subject must be’ perceptible throughout: ee AO, Tadeo: & 1 O, Dio eckigon Klemmern bersichnen die technische Grup- pieromg ‘Boim Uben ist rwischen den Gruppen za warten und absuseizen, Jeder TTakt, mul als cin Fectliogender “Akkord qofthlt. werden, worw das Halten simt- Ticher ‘Noten wesentlich boitragen wird. (Val. much Anm. 87 Suite IV. \ BL. Die Windangen dieser tberaus schin gofithrten melodi schen Linie missen mit groller Liebe nachgefihit und gleichsam snachgezeichnet« werden: das Asthetische Empfinden und ktinstle~ Fisehe Verstindnis des Schilers werden sich daran mesen lassen, inwieweit vs ihm gelingt, diesen Satz mit modulationsfabigem ‘Ton und in ununterbrochenem Flusse so vorzutragen, dal sich tum Schlusse beim Hirer das gleiche befticdigende Gefthl voll- fndcter Abrundung einstellt, wie es uns dio architektonischen Formen (z. B. die dem Bachschen Geiste so ong verwandten gotischen) zu geben vermogen. 52. Der Alt binter dem Sopr. surlicktretend, um die beiden Stimmen auseinanderzubalten. $3, Diese Viertelnoten klingen am besten, wenn man sie »freis (it zariickepringendem Arm) nimmt — sie sollen die Wirkung ‘yon Glockentéuen haben. 'S4. Man hilte sich, die Akkordnoten der rechten Hand xu Tange on halten. Auf seinse miissen die ersten drei Finger prézis zuriickspringen, so da nur das g liegen bleibt. BW. Dio alte, irrefiihronde Notierung: (2 ist durch die kor- Das Viertel ist twa mf und schwer, das “Auftektsachtel p und leicht zu nchmen ‘SG, Bis hierher bildet der 2weite Teil eine ziemlich gotrene Reprodaktion der ersten 12 Takte; der Modulation ‘Tonica — Dominante im ersten Teile entepricht hier genau dio Folge Dominante — Unterdominante. Dio niichsten 4 Takte sind ein- ‘goschoben, um die Verbindung mit der Haupttonart (Coda) her~ ustellen. ‘Das thematisehe Material besteht eigentlich nur aus 2 Mo- tiven: dem ‘Tonleiter-Bruchstick im ersten Takte und der Figur é a: BT. Jeder deg 3 Toile von 8 Takten bat sechsmal d cintaktige Motiv EY (7; dann folgen 2 ‘Takte Sechzobntel figuren. (Dieser AbschluB 186t sich mit dem Scbnirkel einer Namensunterschrift vergleichen.) Daf durch dieses Schema keine Monotonie hervorgerufen wird, ist durch folgondes erreich: 1. Verbindung zweier Takte durch einen fortlaufenden Ton- Icitergang (im Basse) 2a einem Ganzen; 2. Verseteung des ‘Motive abwechselnd in beide Hinde; 3. Kleine melodische Aus- ‘scbmiickungen der halben Note. Selbstverstindlich ist os auch | rektere 9" P ersotzt worden. AQ, Ides: ea O. ‘The square brackets indicate the technical grouping (mental division). When practising, make » pause and break off between the groups. Each bar’ should be folt as a fixed chord; sustaining all the notes will prove an important aid to this. | (Compare Remark 37.) Suite IV. BIL. The structural line of this most beautiful melody should be reproduced with the utmost delicacy, and acute sensibility, faithfully tracing each curve, as though in drawing. ‘The pupil's rendoring of this composition is a test of his aesthetic perception, and artistic feeling, and, played with pliable touch and uninter- rupted flow, should, at ite conclusion, produce in the hearer the same feeling of perfect satisfaction as that caused by the contemplation of the finest forms of architecture—e. g. the gothic, which is so closely related to the spirit of Bach. 2. The alto subdued in tone, s0 as to keep the two voices distinct. ‘BB. The crotchets sound best if taken “freely” (i o, letting the arm spring back) in order to produce @ bell-like effect. BA. Beware of holding the chord-notes of the right hand too long. Let the first. three fingers spring back from tho keys precisely on the first beat, so that only the @ remains, ‘SB. ‘The old misleading notation: [ZP has been replaced by the more correct form: ° " #. The crotchets should be played my and heavily, the up-beat quaver p and light. 5G. Up to this point the second part is fairly faithfal re- production of the first 12 bars; the succession dominant-sub- dominant here, corresponds exactly to the modulation tonic- dominant in the first part. The following 4 bars are inserted to effect the return to the principal key. (Cods.) ‘The thematic material consists, properly speaking, only of two motives: the scalo-fragmont in the first bar, and the figure: 7. In each of the three 8-bar poriods, the ono-bar motive: LEP P appears six times, followed by two bare of figures in semiquavers. (This conclusion might be compared to the or- ‘amental flourish of a signature.) In order to avoid the mono- tony, which might bave resulted from this scheme, the follow- ing methods have been employed: 1) Two bars are united by ‘continuous seale-passage, (in the bass) thus eonverting them into fone whole. 2 ‘The motive ap pears alternately in both hands. 3) The rinime are embellished by little melodie ernamentations. While 1B. B.4806,8 das harmoniseho Gorint, welehon dom Motiv jedenmal cine neue Bodeuting gibt, doch ble ce immerhin nsec, dull ote siner rolehes Symmetsio der Avlage das Gefthl von’ Abwecht fing und Entwiedlong emeugt wick Bie Sateart der Sarabende ist meskwtdig an, auch scheinen dg in otmlnen Mandochrten vorkomsenden, Zatate hoton darvuf hiasudcwten, da eine Avaflung dor Hanon Gren don Spicer gedasle war, Dis tm Palgendon ‘versie ‘Attochmekung scheint dom Herauoyebor dar Stick ur beesren Wintang aw Urayen, shine deeweges, ten Sil sy veletcs BS. Dieser Rhythmus findet sich in einigen Handschriften ‘Auch in don nisin Deiden Takton leet man Et Patate CLP G9, Der Fingereatz soll dacu-dienen, die beiden Gruppen on 2 Noten voncinander se tenen,obglich sith dieeive Wirkang euch mit dom eintuheron Fingerats ereichen la eon men died Noten arch atisichsebr gorges Author Se Armen tit. Die Wirkong aal-ecen dion Derselbe Fall wiederholt sich bei dem folgenden Menuett. GO. Dic Form des »Air< wird am besten als zweiteilige augetat (12 und 10 Tato, sithe dan Air der Guoll Suits) eh glcth sine Dreitslung cbenfals dealer wave: 610-0 Takte, a a GL. Dieses ist sine Umschreibung des a ‘Thom # =. Dadurch wird die so boiriedigende Réckkebr zum Anfang em ‘ict: daa Thema tritt nimlich als Nachahmung des Basses cin G2, Genaue Transposition der Takte 2—6 in die untere Quinte GB, Dio Achtel sind mit Handstaldkato (wie bei Oktaven jm selben Zoitmab) auszufibren, da das Tempo flr Finger- stakksto nicht schnell genug ist. "(Die Bogriindung hierfur ma leider unterbleiben, da dies fiber den Rahmen einer instruktiven Anusgabe hinausgehen wiirde,) Es ist nitalich, sich die Gigue — eine Art Posthora-Fuge — mit Weglassung ei Vercinfachung cinselner Stellen als Oktaven-Etude au ar rangieren, G4, Die harmonische Idee ist x0 aufiufassen a (ie wtrng: EAE SP wt tr mat sh Ln der Wechsel der Harmonien in diesem Tempo nicht so schnell empfunden worden.) Dor Droiklang ist eozusagen Orgelpunkt, liber dem sich die Folge Tonica—Dominante—Tonica vollaieht, Von hier aus laBt sich leicht eine Briicke su der beruhmten Stelle in der Eroica-Sinfonie schlagen: (Auch die Goda des ersten Satzes der bart hierher.) Adicux-Sonate ge- realising that it is the harmonic structure which gives @ new meaning to the motive at cach re-appearance, it is nevertheless astonishing to notice that such symmetry of design does ust prevent the impression of change and development ‘The setting of the Sarabande is curiously meagre, and the occurrence of additional notes in some eopies seems to. sug- gest that it was intended that the harmonic gaps should be filled up by the player. ‘The editor believes thet the following enriched version will render the piece more effective, without tr found in some copies. Also in the next instoad of CEP. 59. This Sngoring is intended to serve the purpose of separating the two groups of 2 notes, although a similar effect may be obtained by using the simpler fingering, provided the arm be—ouly slightly—raised, to cause the division between the 4 notes. ‘The effoct should be, approximately, this eee A similar passage ovcurs in the following Minuet. GO, ‘The form of the “Air” is best regarded as consisting of two parts (12and 10bars,seo the Air ofthe Cminor-Suite) although a division into three parts would be equally justifiable: 6—10 ‘The satisfaction felt by the return to the beginning is explained on realising that the theme appears as an imitation of the bass. G2. An exact transposition of bare 2 to 6 into the lower 0, G8, The quavers should be played with wrist-staccato (like octaves in the same tempo) as the time is not quick enough for finger-staccato. (It is unfortunately impossible to give reasons for this here, space at the disposal of an instructive edition being limited.) ‘The pupil will derive benefit from studying this iigue—a fugue, the theme of which might have been inspired by a postllion’s horn—in octaves, leaving out some notes, and simplifying some of the passages. GA, ‘The harmonic conception should be understood as follows: the change of harmonies could not be realised at such a speed.) ‘The triad is, s0 to speak, a pedal-note, above which the alternate succession of tonic, dominant, tonic, oveure.—This harmonic ex- planation is also applicable to the famous passage in the Eroica Symphony: (See also the Coda of the first movement of the Sonata “Les Adieux” in which the same problem is treated.) B.B.4806.GB. Herausgeber empfichlt folgende Vertoilung: ie folgenden 6 Takte sind als Hinschiebsel zu betrachten (Bekeiftigung derParalleltonart); ohne dieaclben wiirde der aweite Teil (bis zur Coda) nur einen Takt mebr ziblen als der erste Teil Die Coda (Schlufierweiterung) enthilt. das Thema drei- mal, als Stoigerung der Coda dos erston Teils, wo das Thoma ur zweimal auftrite Suite V. G7. Man vergleiche ma diesem Saize die Bemerkungen tiber die Allemende der ersten Suite. Die Form weist nichts Besonderes uf: sie it awoitellig; jeder Toil hat 12 Takte. Ungewshn- lich int mur, da die 3 letzten Takte beider Teile sich villig gleichen (es ist dies der einzige Fall in den Allemanden dieses ‘erhalten dadurch die Bedeutung eines Refrains, er Wiederholung die befriedigende Wirkung des Schlusses.erhsbt. GS, Variation der Takte 5 *, wie gowabnlich gespiclt wird. G9. Auch hier sind dic letzten 4 Takte der beiden (16 taktigen) Toile gleich. 70. Eine religids-getragene Toterpretation erscheint dem Charakter dieses Satzes angemessener als die tbliche tindelnd- grazidee Ausfubrung. Zur Erreichung der dazu unumginglich notwendigen Wide (aber ja nicht langweiligen Steifheit!) sind Iangsames Tempo und breiter, voller Ton erforderlich, der die melodiache Linio in ununterbrochenem Strom durchfliefen mul, Dann orhalten auch die Verzierungen die Bedeutung verinner- lichtor Melodik, anstatt bloBe dckorative Ornamente au bleiben, Namentlich die Triller missen steta gosanglich empfunden, nicht aber brilliant heruntergerolit werden. Den Steigerangen im ‘Ton soll sich stets cin Breiterwerden im Tempo pasron — darum wurde die Bezeichoung rerescendoe vermieden. Besondere Sorg- falt ist der strong zweistimmigen Auefubrung der linken Hand mu_widmen. Der erste und dritte Teil enthilt jo 16 Takte, der zweite nur 8; den Anfang der 4taktigen Perioden bildet stets das ‘Thema, mit Ausnahme der letuten Periode des ersten und dritten Teilos,, wo die Melodie vor dem Schluste noch einmal einen neuen’ Aufschwang nimmt: ein von Bach hiufig angewandtes Minetlerisches Mittel, durch das der letzten Note der Stempel dor Endgiltigkeit aufgeprigt wird. "TL. Man beachts das ungewshnliche'Tektverhiltnis der 3Teile: 10:28:12. 7B. Die Gigue ist cine leichtgewebto Fuge in Repetitions- form: der erste Teil (24 Takte) fihrt das Thema, der zweite, reichere (32 Takte) dessen Umkebrung durch. Der Kontra- punkt wird im Rhythmus stets festgehalten und oft in zwei Stimmen zerlegt. Das Stick ist ebenso niitzlich ala Finger- studie wie anzichend durch seine unaufhaltsame Bewegung und sprudeinde Lebendigkeit 78, Mon denke sich dos Thema zwe oe 6. Die Figur ist so aufzufassen: GB, The editor recommends the following srrangement: ‘The next 5 bare must be regarded as an insertion; (corro- boration of the relative key) without them, the second part up to the Coda) would have only one bar more than the fist GG. In the Cods (enlargement of the closing passage) the theme appears three timer, thereby forming a climax compared with the Coda of the fist part, in which the theme occurs only twice. Suite Vv. 67. For this movement, compare the remarks made on the Al- lemande of the first Suite. ‘There is no unusual feature in the form, which consists of two parts, of 12 bars each. A point worthy of note is that the last 8 bare of each part aro identical, (—the only case of this kind in the Allemandes of the present collection—} ing the character of a refrain, and on ion, intensifying the feoling of satisfaction produced . The figure should be interpreted nots EPP anit in goerally pl G9. Here again the last 4 bars of the two 16-bar parts are identical 10. “Religioso sostenuto” would more fittingly deteribe tho character” of this piece than the “scherzando”graziono” manner, in which it is usually played. A broad full touch, and slow tempo are indispensable to produce the effet of dig” nity and nobility, (but not stiffness, and tiresome rigidity) which should flow uninterruptedly through the melodic line. In this manner the ornaments will also acquire the signification of ex- pressive melodic phrases, and not remain more decorative embel- Jishments. ‘The tills, in particular, should always be rendered relodically, and not simply be brilliantly executed. Tnereage in tono should always be accompanied by broadening in tempo—this ia why the tarm “crescendo” has been avoided. Special attention should be devote to the rendering of the left hand. ‘Tho first end third parts contain 16 bars each, the second only 8; the beginning of the 4-bar periods is always formed by the theme, except the Inst period of the fit and third parts, in which, once more before the end, the melody takes « new fight, an’ artistic effect repestedly employed by Bach to impress the last note with the stamp of finslity. jet two-part "TL. Observe the unusual proportions of the Bparta: 10:8: 12. 72, The Gigue is « fugue, loosely-woren, in repstition-form In the first part (of 24 bara} tho theme is worked out; in the second, (82 bers) the richer of the two, follows the inversion. ‘Tho counterpoint is carried out in the’ same rhythmical form throughout, and is frequently divided into two voiees. ‘The piece in just ag profitable a8 s study for the fingers, as itis attractive by. ite sparkling vivacity, and irrestrainable ‘movement, '18. Consider the theme as two-voiced: .B.4806,10 Dadurch wird nicht nur der Vortrag an Lebendigkeit gowinnen, sondern die Stelle wird auch technisch leichter durch diese Vorstellung: dies wird sich am deutlichsten in der linken Hand 7M, Der Bogen bedentat nicht legato, sondern die Zusam- mengebtrigkeit der Gruppe, die mit einem Schwunge auf die coberste Note hin zu epiclen ist "7. Ea warde schon friher darauf hingowiesen, daf in solchen Rhythmen die lauge Note besonders lang und stark, die kurze besonders kurz und leicht genommen werden mu. "7G. Die beiden Anfangmoten feblen. Im zweiten Takt tiber nimmt der Sopran die Fortfthrang des Themas in der hiheren Oktave: ein Vorgang, der an die Brechung cines Lichtstrahle durch eine Linse erinnert. ‘TT. Die genave Umkehrang dos Themas wirde lauten : See | This will not only give more life to the interpretation, but will also facilitate the technical exeoution of the passage. The advantage of this device will be felt moat in the left hand, "74, The curved line does not signify legato, but calls attention to the continuity of the group, which should be played with « awing up to the highest note. 71. It bas been already pointed out that in similar rhythms, the long note should be taken especially long, and loud, the short ono especially short and light. "76, The first two notes are missing. In the sccond bar the soprano carries on the theme in the higher octave, a device ‘which rosombles the rofraction of a ray of light by a lens. °17. The exact inversion of the theme would be as follows— heptane 7 ft eee Dureh dio von Bach gewibite Version (die sich nur an die Hauptpuukte * bile und” gang allgemein Fallen mit Steigen eantwortet) bat die Umkebrung unleugbar an Lebendigkeit, und Kraft gowonnen. Gerade solche UnregelmaGigkeiten, die Keine » Willkuslichkeitens sind, da ihnen eine kinstlrise sicht sugrande Tiegt, Inston den Meister erkennen. Ubrigen fst auch bier wieder die Stimmenfolge umgekehrt. 78. Bine Art lockere Eng(uhrung: des Thema trite um einen balben Tekt frier ein. Dasselbo. wiederholt sich 21/5 Takto spiter, ‘wo tagleich cin vierter Stimmeneintritt vorgetiuscht wird. "Alles strebt.diatonisch nach oben, um sich kurz vor dom Eintritt des Basses cbenso wieder zu senken, der durch die lange unbenutete tiefe Lage frisch wirkt und dem SchlaS Gewichtigkeit verleiht. Suite VI. 79. In diosor Allemande iat als ungowshnlich hervorzahoben, dat die Perioden A, B,C des ersten Teiles im 2weiten mit A) ©, B beantwortet werden. A ist im zweiten Toile auf beinahe das doppelte erweitort. ‘80. Der Bogen uber den 4 Noten (der sich im Original findet) soll weniger die Phrasierang bezeichnen — dadurch wilrde die Eiuheitlichkeit der Linie zerstickt worden — als besagen, dal die Gruppe zu vscbleifen«, also mehr gebunden und gleitend suszufubren ist als die dbrigen Sechzehntel SL. Auch ohne die Verdoppeling in Oktaven kann durch aie angegsbeno Nuancierang der Charakter der Zweistimmig- keit verdoutlicht werden. Die aweite Halfte des Taktos ist (im Busse) die Umkehrung der ersten 82. Diese Phrasierung ist besser und stilgemifier als die abliche Lf, aio allan leichtortig wirkt 88. Bei weniger geschwindem Zeitmal bekommen die Passagen Ieicbt etwas stockendes: sic verlieren das, was ihr Lebon aus- macht, nimlich das unaufhaltsame Rollen auf die erste Note des niichsten Taktes zu, (Regel: Man spicle nie einzelne Noten, steta schwungvolle Linien.) Der angegebene Pedal gebrauch dient dazu, die Noten au einem Ganze zrufassen, 8A, Wie gewsbnlich heginnt der zweite Teil mit einer (wenn such nicht getrouen) Umkehrung der Anfangstakte. Tm tbrigen er das genaue Gegenstiick der 16 Takto des ersten Teils die letzton 6 Takte sind identisch, 85. Dic Form der Sarabande ist dreiteilig (3mal 8 Takte): onder aise By the version chosen by Buch, (which keops only to the prinefpal points x, and, quite in a general way responds to Fall by Rise the inversion undeniably gaine greatly in vigour, and spirited noss. It is just such inregalarities, the outeome of artistic intention, and not of inere arbitrariness, which proclaim the ‘Master. Here again the order of the parts in their re-appearence has been. roveried. "TS. A kind of free strotto: the theme appears half » bar sooner, and this occurs again 24/5 bars further on, where, at ‘the samo time, the entrance of « fourth part is’ simulated ‘The tendency ix diatonically upwards, to deseond again in like manner shortly before the entrance of the bass, which, with ita deop notes, untouched for some time, has fresh effect, and lends additional weight to the close Suite VI. 19. In thie Allomande it should be noted, as being unusual, that the periods A, B, C of tho first part are replied to by A, C, Bin the second, A in the second part being almost doubled in extent S80. The carved line over the four notes, found in the original, is not 30 much « siga for the phrasing — it would cause a break in the unity of the line — but rather donotes a slurring of the group, i. 6. they should be executed in a more legato, gliding manner then the rest of the semiquavers. ‘SL. Bren without the doubling by octaves, the two-part character of the left hand can be mado clear, by means of the gradations of tone indicated. ‘The second half of the bar is {in the base) the inversion of the first half 82. This phrasing is better, and more corvoct in style than tho usual one: £2 which is somewhat trivial in oft 88, In less rapid tempo, the runs easily acquire » stagnant character; they lose their essential quality, their irrostrainable advance towards the first note of the following bar. (Rule: Never play single notes, keep tho line, which should be brisk and energetic, in mind.) ‘The marks indicated for the ‘use of the Pedal servo to combine the individual notes into one, whole. SA. As usual, the socond part begins with an inversion {though not a strict ome) of the opening bars. Fxcopt for this, it is the exact counterpart of the 16 bare of the first part — tho last 5 bare are identical ‘SH. he form of the Sarabande is tripartite (3 times 8 bars dig erste Tlie jetes Toily bertobt aus dem tweimal gebrach- | the fist half of wach part comisla of the two-bar motive, B..4906,ten aweitaktigen Motiy, die zweite beginnt wiederum mit diesem, fihrt es aber im 2. Takte frei weiter. Eine Kleine Ausnabme macht der 3, Teil, desson 8, und 4, Takt anders gestaltet sind. Die Melodie steigt (in der Lage und im Ausdruck) im 2. Teil, der den Hihepunkt darstellt, sonkt sich dann zu Anfang des ritten, am sich zum Schluf’ wiederum zu erheben. 8G. Derartige Mittelstimmen sind ja nicht achwollond, sondorn ganz glatt und ohne Ausdruck 2u spielen, um nicht die Auf merksamkeit vén der gehaltenen Noto der Oberstimme sbzu- lenken. Dies gilt ganz besonders fir das Klavier, auf dem lange Noten nur kurze Klangdauer haben. Daf tiberhaupt die Begleituog mehr im Schatten gebalten worden mul als die Me~ lodie, versteht sich von selbst 87. Wieder cin Beispicl von der etrongon Logik Bachscher Stimmfiihrung, die sich um Querstinde nicht ktimmert: 88. Dor Herausgeber vor, nach Analogic der letzten ‘Takte durchweg die in Kleinen Noten angogebene rhythmische Form ou substituieren, 89. Umkehrung des Themss im Bal, derauf im Sopran. 90. Die folgenden 4 Takte, um die der aweite Teil linger ist als der erste, sind eine Erweiterang, die auch weggedacht ‘werden kinnte: AL appearing twice in succession, the second half again starts with it, but continues it in a free manner in the second bar. The third part forms an unimportant exception, in so far as bars 3 and 4 are slightly different in form. ‘The melody soars {both in position and expression) in the second part, which constitutes the climax, then descends in the beginning of the third, to rise again towards the close, SG. Inner parte, such as those, should on no account be played with rise and fall, but absolutely evenly, and without expreation, in order to avoid distracting the attention of the hoarer from the snstained note of the upper part. This refers especially to execution on the pianoforte, where however long the note, the resonance can only be of short duration. Tt is | hardly necessary to remark that the accompaniment should always be kept more in the background to bring owt the melody 87. Here again we have an example of Bach's strictly logieal treatinent of parts, which is quite regardless of False Relations 88. The editor prefers tho substitution throughout of the rbythmieal form given in small type, analogous to the final bars. ‘SQ. Inversion of the theme in the bass, then in the soprano 90. ‘The enlargement of the second part on the first, by the following 4 bars, might quite well have been leit out. b ML. Man bemitbe sich, dieses licbliche Kleine Stick mig lichst ‘ohne Nuaneen, ganz einfach, ruhig und unschuldig zu spielen, etwa im Klangcharakter eines Duos von Flste und Baliklarinetto. Resondors die Sechzehntel und die Verzicrungen find glatt und ohne Hast ausanfihren, 92. Die 12 Takto dos ersten und xweiten ‘eile sind im Aritten uu 18 Takten erweitert @3. Um die 6 Noten richtig, db. gleitond« auszufibren und sie als Gruppe zu empfinden, denke man sich in jedem Takte nicht 3 Soblige, sondern nur einen. DA, Obgleich beide ‘eile dio gleiche Anzahl alte auf. weisen, sind sie doch nicht in ‘Takt-Perioden von gleicher Linge eingeteilt. Die 3 Abschnitte eines jedon Toile zeigen fageniea markwiriig Zablenverktinn, 279 1104 i ‘Man beachte besonders die Reduaierung des 8. Abschnittes von 8 auf 5 Takte, 1, The student should endeavour to play this lovely Kittle composition s# much as possible without any gradations of tone, absolutely simply, quietly and innocently. Sound snd charactor are that of a duo of flute and bass-clarinet. specially the semiquavers and ornaments ought to be exeeuted smoothly ind without hact. ‘D2. Tho 12 bars of the fist and second part have boen extended in the third into 18 bar BB, To exocute the 6 notes correctly, i. o. “gliding”, and to feel them as group, imagine one beat in each bar, not three. D4, Although both parts have the umber of bars, they are not divided into bar-periods of equal length The 8 sections of each part present the following ensious pro- 219 11008 a ae tion of the third section from 9 to 6 bars portion: rs. Observe in particular the reduc Egon Petri. English Translation by Mevanwy Roberts, B.B.4306,