Notebook for Anna Magdalena Bach

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The music books for Anna Magdalena Bach are two music books from 1722 and 1725 that Johann Sebastian Bach and his wife Anna Magdalena put together.

The two music books are kept in the Berlin State Library. JS Bach also wrote a music book for his eldest son: The Clavier Booklet for Wilhelm Friedemann Bach .

The music book from 1722

Clavier booklet before Anna Magdalena Bachin in the year 1722 , cover sheet
This page of the sheet music from 1722 contains the Gavotte of the French Suite No. 5 ( BWV 816) in Johann Sebastian Bach's handwriting

The first sheet music from 1722 has the title Clavier-Büchlein before Anna Magdalena Bachin on the cover sheet . It is only preserved in fragments. We have survived 25 sheets with 48 written pages of music, which at the time of the first scientific description of the book by Count Paul Waldersee in Volume XLIII of the "Old Bach Edition" of the Leipzig Bach Society from 1894 were loosely in the original cover. A copy that comes from the circle of Carl Philipp Emanuel Bach and “was made around the 1880s” contains only pieces from the now known inventory in a disorderly sequence, and these almost completely, albeit without us fragmentary pieces handed down. This suggests that even at this point in time the parts of the music book that were lost today were no longer available and what was available was loosely in the cover, so that the order in the transcription could get mixed up. The thickness of the cover obtained indicates about 45 to 50 lost sheets. The music book would have originally been about the size of the second from 1725.

The earliest surviving versions of the first five French suites take up by far the greater part of the Clavier booklet , for the most part in obvious conceptual writing. These as well as two short unfinished movements show that Bach used the little music book for composing and sketching. Almost the entire surviving inventory is written by him.

Bach research was hardly interested in the first music book. It is generally only considered a source for the oldest version of the French Suites. The "Alte Bachausgabe", which printed the French suites in volume XIII and XLV / 1 anyway, mainly in early versions, was therefore not published as a whole in the edition of the music books for Anna Magdalena Bach in volume XLIII / 2, but was limited to the few Pieces not belonging to the suites. These have also been published in other contexts; Hermann Keller put forward a conclusion to the unfinished Fantasia pro Organo . The only complete edition of the music book from 1722 has so far remained that of the New Bach Edition .

Works

All pieces except [9] and [11] are autographs by Johann Sebastian Bach. The numbering follows the New Bach Edition .

  • [1] - [5] French Suites I – V (BWV 812–816) in the earliest surviving version. Partly fragmentary due to loss of leaves. The minuets of Suite II in C minor (BWV 813) and III. B minor (BWV 814) are added later in the music book; see. [9] and [10]. Between the Air and the Gique [sic] of the C minor suite there is an insertion note that refers to [9].
  • [6] Fantasia pro Organo (BWV 573). Unfinished, the sketchy writing breaks off before the end of the page.
  • [7] Air with Variations in C minor (BWV 991) for keyboard instrument. Unfinished. The Air's bass is incomplete; a complete and an incomplete variation follow, in which the system for the left hand is empty.
  • [8] Chorale adaptation of Jesus, my confidence (BWV 728). Fair copy by Johann Sebastian Bach.
  • [9], [10] The minuets for II. And III. French suite (cf. [1] - [5]). [9] probably written by Anna Magdalena Bach, [10] concept manuscript by Johann Sebastian.
  • [11] Minuet (BWV 841). Probably written by Anna Magdalena Bach. This minuet can also be found in the piano book for Wilhelm Friedemann Bach .

The music book from 1725

The format of the book is Groß-Querquart; The leaves are by Gold section decorated with green paper coated with gold lid pressure. The outside of the front cover bears the initials of Anna Magdalena Bach pressed in gold, which were continued by hand in Latin script:

A nna M agdal. B ach
1725

On the inside is a note from the previous owner, CF Zelter :

Anna Magdalena, J. Seb. Bach's second wife, whose name adorns this book, is said to have been an excellent singer .

Carl Philipp Emanuel Bach , from whose possession the book passed to Zelter, numbered the pages of the music section from 1 to 121. The last three leaves of the book contain texts and are not numbered.

Works

Unless otherwise stated, the following applies: the composers are unknown; Instrumental pieces are for harpsichord, arias for voice and figured bass ; The writer is Anna Magdalena Bach. The numbering of the pieces follows the New Bach Edition . Original titles appear in italics, added titles appear straight.

[1]: 2nd page of the Prelude of the A minor Partita in Johann Sebastian Bach's handwriting, damaged by ink damage. Shadows of the notes written on the other side of the sheet are visible; the paper has several holes.
  • [1] - [2] Early versions of the Partitas III in A minor (BWV 827) and VI in E minor (BWV 830) by Johann Sebastian Bach
  • [3] Menuet in F major (BWV Anh. 113)
  • [4] - [5] Menuet in G major, Menuet in G minor (BWV Anh. 114, 115). The best-known pieces from the music booklet, which are distributed in countless instrumental schools and booklets with beginners' literature for practically every instrument; usually under the name of Johann Sebastian Bachs. In 1979 Hans-Joachim Schulze pointed out that the two pieces, Menuet 1 and Menuet 2, come from a harpsichord suite by Christian Petzold .
  • [6] Rondeau in B flat major (BWV Anh. 183). Les Bergeries. Rondeau from the VI. Order of the Pièces de clavecin by François Couperin .
  • [7] - [10] Menuet in G major, Polonoise ( Polonaise ) in F major (written in two versions one after the other), Menuet in B major, Paloneiße (sic) in G minor (BWV Anh. 116–119)
  • [11] Chorale. By JS Bach Who only because [sic] love God great is (BWV 691). Copy based on Bach's autograph of the chorale arrangement in the Clavierbüchlein before Wilhelm Friedemann Bach . JS Bach added in a different font.
  • [12] - [13] Choral and Aria “Be content and be quiet” (BWV 510-512). The text is by Paul Gerhardt . The melody from [12] (= BWV 510) without text in the music booklet appears in a different rhythmic form with Gerhardt's poem in Harmonischer Liederschatz, or General Evangelical Choral Book, by Johann Balthasar König 1738 , so it does not come from the anonymous scribe in the music booklet. Georg von Dadelsen interprets the somewhat clumsy basso continuo movement from [12] as a compositional exercise by a very young family member. Apparently inspired by this, Johann Sebastian Bach composed an aria in G minor ([13a] = BWV 511) on Gerhardt's text, which he then - perhaps because it turned out to be too high for the singer Anna Magdalena Bach - with a few variations transposed down to E minor ([13b] = BWV 512).
  • [14] - [15] Menuet in A minor, Menuet in C minor (BWV Anh. 120, 121)
  • [16] - [19] Four pieces by Carl Philipp Emanuel Bach : March (d. I. Marche ) in D major, Polonoise in G minor, March in G major, Polonoise in G minor (BWV Anh. 121–124). [19] is the Polonoise 1 from a Sonata per il harpsichord solo by Carl Philipp Emanuel Bach. The source for this sonata was lost during the Second World War; it is only known today through a copy by Rudolf Steglich - apparently incomplete, a “Polonoise 2” is not included. All four pieces are written in the youth handwriting of Carl Philipp Emanuel Bach; Since they are also related to one another by "volti" notes (turning notes), CPE Bach is assumed to be the composer of all four movements.
  • [20] Aria "As often as I put my tobacco pipe" (BWV 515, 515a). The text was widespread on leaflets; it is included with all of the stanzas in the note booklet on a separate sheet by an unknown scribe [= 20c]. [20a] in D minor (= BWV 515) comes from an unknown hand. According to Dadelsen it is the same as [32]. Dadelsen suspects the childish handwriting of Gottfried Heinrich Bach from handwriting comparisons . [20b] (= BWV 515a) brings the same melody that Anna Magdalena Bach transposed a fourth up to G minor, probably to adapt it to the range of her singing voice. The artistically reworked bass comes from the hand of Johann Sebastian.
  • [21] Menuet fait par Mons. Böhm in G major (without BWV), written by Johann Sebastian Bach. Several musicians with the last name Böhm are possible. The gallant-modern style of the piece and the very simple structure seem to speak against Georg Böhm, who was highly valued by Bach as a composer.
  • [22] - [24] Musette in D major, Marche in E flat major, Polonaise (?) D minor (BWV Anh. 126–128). The Musette is next to [4] the most famous piece of music booklet.
  • [25] Aria "Are you with me" (BWV 508) by Gottfried Heinrich Stölzel
  • [26] Aria for harpsichord by Johann Sebastian Bach, which he later used for the Goldberg Variations BWV 988.
  • [27] Solo per il harpsichord in E flat major by Carl Philipp Emanuel Bach (BWV Anh. 129). The first movement of the Sonata Wq has been revised . 65/7.
  • [28] Polonaise in D major (BWV Anh. 130) from a piano sonata by Johann Adolph Hasse
  • [29] Prelude in C major by Johann Sebastian Bach from the Well-Tempered Clavier I (BWV 846)
  • [30] - [31] Two French suites by Johann Sebastian Bach: I in D minor (BWV 812), II in C minor (BWV 813, fragmentary)
[32]: The piece, which is typical of the time, notated in the soprano clef, has been corrected several times and is sometimes illegible. In some places is in Kurrentschrift the next tone meant the note is written in the first bar adjacent to the first note f , between the second and the trill cross- e , in the third cycle via the first note c (each right hand).
  • [32] Piece in F major (BWV Anh. 131). According to Dadelsen, the same scribe as in [20a]. The very simple composition is awkward and written with many corrections, some of which are unclear, which seems to indicate a very young family member as a composer. In addition to Gottfried Heinrich Bach , Johann Christian Bach would be an option .
  • [33] Aria ("Why do you grieve" BWV 516) by Johann Sebastian Bach? Lyricist unknown.
  • [34] and [38] Recit [ativo] (“I've had enough”) and Aria (“ Fall asleep , you dull eyes”). From Bach's cantata “ I have enough ” (BWV 82), transposed from C minor to E minor and with the singing part shifted from the bass to the soprano clef , probably to adapt the pieces to Anna Magdalena's vocal range. [34] brings the recitative in its entirety, but only the vocal part of the aria without instrumental accompaniment. [38] starts again with the aria, but without prelude and strings. The figured bass breaks off bar 28 (at the end of the second page), the singing part ten bars before the end (at the end of the fourth page). The lyricist of the cantata is unknown; the text goes to Luc. 2, 25 ff. Back.
  • [35] Aria “Schaffs in mir Gott” (BWV 514) by Johann Sebastian Bach? Text by Benjamin Schmolck . In the first eight bars, all notes of the singing and bass part are provided with tone letters. It is likely that this piece was used to give a young family member their first musical skills.
  • [36] Menuet in D minor (BWV Anh. 132)
  • [37] Aria di Govannini [sic!] (“Will you give me your heart” BWV 518). Unknown writer, otherwise not represented in the music booklet. Carl Friedrich Zelter suspected on a piece of paper enclosed with the note book: “Giovannini could be Joh. S. Bach's Italianized shepherd's name and the poem, like the composition, made by himself, could have occurred at the time of his second engagement to Anna Magdalena, who is said to have sung quite well . The copy, which is girlish enough, could be from the hand of the lover. ”Zelter's speculation, which is based on the equation of Johann with Italian Giovanni , has been received a lot, especially in trivial literature. However, it has been rejected by Bach research since the late 19th century as out of the question: The handwriting is clearly not that of Anna Magdalena, and a “shepherd name” of Bach, and a relationship between Bach and shepherd games is otherwise not known. Instead, Philipp Spitta referred to the composer Giovannini (first name unknown), who had published some pieces in the 3rd and 4th parts of Johann Friedrich Graefes Odensammlung (1741, 1743). However, this assignment is also questioned: the intricate melody and the supple and inventive bass of the Aria di Giovannini suggest a composer of considerably larger format than is attested by Giovannini's few known compositions.
  • [38] cf. [34]
  • [39] Choral and aria (“Dir, dir, Jehovah, I want to sing” BWV 299, 452) by Johann Sebastian Bach, text by Bartholomäus Crasselius . The writing of the four-part chorale comes from Johann Sebastian ([39a] = BWV 299). Anna Magdalena then notated the same piece as an aria (only upper part and bass) in order to be able to accommodate all text stanzas in the now more generous space between the systems. In this form, but slightly revised, Bach later included it in the “ Schemelli songbook ” ([39b] = BWV 452). - Despite the original name chorale , the melody with its pitch range of a ninth, its complicated hemiole rhythm and its ornamentation is not a song suitable for church singing. Rather, the movement, which is similar to the final movement of the motet “Komm, Jesu, komm” (BWV 229), known as the aria , seems to appeal to more experienced singers.
  • [40] Aria “How happy I am, O friend of souls” (BWV 517). Text by Wolfgang Christoph Deßler , passed down in several contemporary hymn books. Composer unknown.
  • [41] Aria “Remember, my spirit comes back” (BWV 509). Lyricist and composer unknown.
  • [42] Choral "O Ewigkeit, du Donnerwort" (BWV 513). Text by Johann Rist , melody by Johann Schop and Johann Crüger , figured bass by Johann Sebastian Bach. Two-part excerpt (upper part and figured bass) from the four-part choral movement BWV 397, written by Anna Magdalena.

literature

  • Parts of the foreword of the old Bach Complete Edition have been incorporated into the article: Johann Sebastian Bach's Works. Published by the Bach Society in Leipzig. Volume XLIII, 2nd part volume: Johann Sebastian Bach's pieces of music in the music books of Anna Magdalena Bach. Foreword by Count Paul Waldersee († 1906), Königsberg in Franconia, 1894. imslp.org imslp.org
  • Georg von Dadelsen : Johann Sebastian Bach. New edition of all works . Series V, Volume 4: The Little Piano Book for Anna Magdalena Bach. Critical report . Kassel etc. 1957.
  • Ernst-Günter Heinemann (Ed.): Notebook for Anna Magdalena Bach 1725. G. Henle Verlag, Munich. In it the preface p. V – VII dated 1983.
  • Georg von Dadelsen (Ed.): Johann Sebastian Bach. The little piano book for Anna Magdalena Bach (1722 and 1725). German Publishing House for Music, Leipzig; also as a parallel edition by Bärenreiter-Verlag, Kassel. Practical edition based on the volume of the New Bach Edition , for example under Dadelsen (1957). In it the foreword p. V – IX dated 1984.
  • Wolfgang Schmieder : Thematic-systematic directory of the musical works of Johann Sebastian Bach. Breitkopf & Härtel, Wiesbaden 1990, ISBN 3-7651-0255-5 .

Individual evidence

  1. ↑ Dadelsen 1957, p. 19.
  2. ↑ In: Hermann Keller (Ed.): Organ preludes of old masters in all keys. Bärenreiter-Verlag. Reference according to Dadelsen 1957, p. 22.
  3. ^ Series V: Piano and Lute Works. Volume 4: The piano booklet for Anna Magdalena Bach.
  4. ↑ According to Dadelsen 1957, p. 88. Still referred to in Dadelsen 1984 as "lost". According to Heinemann, in 1983 as a manuscript in the Hamburg State and University Library .
  5. ↑ Dadelsen 1957, p. 89 f.
  6. ↑ Andreas Glöckner in: Bach Yearbook 2002, pp. 172–174.
  7. ↑ Dadelsen 1957, p. 104 f.
  8. ↑ So Dadelsen 1984 p. VIII, who refers to Hans-Joachim Schulze without citing the source .
  9. ^ In Dadelsen 1957 there is the apparently otherwise undetectable variant of the name "Dreßler" (also in Heinemann 1983, taken over from Dadelsen?); in Dadelsen 1984 "Dressler".

Web links

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