Professional Documents
Culture Documents
Bach Info
Bach Info
Bach Info
J. S.
BACH
Anson-Willis, has performance suggestions and ornamentation; Banowetz-GWM 1974, contains an extensive discussion of ornamentation, flngering, rhythmic conventions, tempi; editorial suggestions
in red print, excellent preface. helpful performance suggestions;LandshoffCFP; Pestalozza-Ric 1973; Solymos-EMB 1972, ABRSM-Jones).
Three Two-Part Inventions C, E, F (5.172,177,779) (Ratz, Fiissl, Jonas-VU). Urtext edition plus facsimile of the autographs.
See: Karl Heinz Ftissl, "Bach's Secret Composition Course," PQ,93 (Spring
7976):18-19. A discussion of the Inventions and Sinfonias as Bach's only
manual on composition.
John Satterfleld. "Dissonance and Emotional Content in the Bach TwoPart Inventions," MR, 17 (November 1956):273-81; 19 (August 1958):173*79.
Ruth Slenczynska, "J. S. Bach's Two-Part Invention No. 12-An Analysis
for Performers," Keyboard, 10/9 (September 1984):44-45. Includes score
and analysis on pp.48-50.
TM, Anaiysis of Invention in d, pp.56-67.
Bach composed nearly forty suites for various solo instruments. The best-known
for keyboard are the "French" Suites, "English" Suites, and Partitas.
6 French Salres 5.812-817 (Steglich, Theopold-Henle 71, based on the autographs and copies tn the Notebook for Anna Magdalena of 1725;Durr-Br,
Miiller, Kahn-VU 50048; Keller-CFP; KMB; Bischoff-K; PetriBr&H;E. Fischer-WH;Mugellini-Ric;EMB 1975). The form A, C, S,
optional dances, and G is followed throughout this set.
Srile No.1 d (5.812). Allemande: three voices, requires fine voicing. Courante:French
type, light and fast, contains complicated flngering problems. Sarabande:
Two-Part Inventions (G.
J. S.
BACH
43
pseudo-contrapuntal'
four voices. harmonic. Minuets I and II;three voices'
type; requires precise treatment
expressive. Gigue: unusual slow-moving
of
handled. M-D.
doited notes: l6ths and 32nds must be carefully
Italian type' SaraCorrente:
bass
plucked
Sul/e No.2 c (S.813)' Allemande: duet'
Gigue: two
flowing'
voices'
two
bande: expressive. Air: attractive. Minuet:
M-D'
to
Int'
set'
voices. Technically the easiest of the
Courante: French type' some
Sulre No.3 b (S.81't). Allemande: highly organized'
fingeringproblems.sarabande:interestingcounterpoint,mustbecarefully
Siilre No.4
rante:threevoices,graceful.Sarabande:easierthanoneinS.Sl4.Gavotte:
flowing. Gigue: trills reattractive: observe ihe authentic slurs. Minuet:
quire careful attention' M-D'
sulleNo.5G(S.816)(VU51011Mijller'Kahn).Urtexteditionplusfacsimileof
autograph.Allemande:melodiousandexpressivewithphrasingaproblem.
Courante:fastandbrilliant.Sarabande:Romantic:takeplentyoftime.Gabegins on upbeat' Loure:
votte: a test of rhythmic controi. Bourrde: tricky,
flowingbass:needsdelicateaccentuation.Gigue:brilliant;bubbieswith
control.Sarabande:richandfullchords.Gavotte:needscarefulaccentua-
tion.Polonaise:nicerhythms.Bourr6e:needsasnappytempo'Minuet:
charming. Gigue:
trill
copies by Bach's
off-Kl t<reutz-bpp,
Suites.
SrrlteNo.lA(5.806).Prelude:flowing;three-voiced:improvisatorycharacter;
part writing' CouABA form. as are all the Preludes Allemande: complex
rantel:Frenchtype.Courantell:twovariations(doubles).Sarabande:
Bourr6e l: appealing. Bourr6e II: more appealbeautiful ano
"riressive.
inglGigue:uiuuciousbutslowerthansomeofitslivecompanions.M.D.
Allemande:stately,moderatetempo'Courante:simpletextures'rhythmic
out in a second version'
ambiguit,v. Sarabande: ornaments are rvritten
Bourr6esIandII:lighterinmoodthanothermovements.Gigue:hasada
capo. M-D.
Srl/eNo.3g(5.808).Prelude:hastheritornelloformofanltalianconcerto'still
withintheAtsAdesign'Allemande:similari'ntempoandcharacterto
ornamentation. Sarabande:
Nos.2,3, and 5. couran1", .u.. needed with the
Bachprovidesbothmildlyandfloridlyornamentedversions.Gavottesl
44
J. S.
BACH
(Winter l98l-82):
J.
45
-47
A consideration of
the Horizontal and vertical Elements Found rherein," diss., columbia
University, 1950.
KLAVIERUBUNG:
The Klavieriibung was one of the few works of Bach that was published during
his lifetime. Its complete title was "Keyboard practice consisting of preludes,
Allemandes, courantes, Sarabandes, Gigues, Minuets, and other Galanteries.
composed for Music Lovers, to Refresh rheir Spirits," and it was published in
four parts by Bach between 1i26 and.I73I.
Part I: 6 Partitas (1731) s.825-30 (pitch-Axenfeld-vu 50166-67; SreglichHenle 28, or jn2 vols.30,31, based on the original edition of li'3I:Jones_
Br5165;
as Bach's op.1, these grand suites have greater diversity than the French
and English suites. The introductory movements vary in each partita: praeludium, Sinfonia, Fantasia, overture, praeambulum, Toccata. The dance
movements become freer, as in partita No.5, where Bach uses ,,Tempo di
Minuetto," and in No.6, "Tempo di Gavotta.,,The standard suite form is
changed in the Second Partita, in which Bach substitutes a capriccio for
the usual Gigue.
Partita No.1 Bb (Palmer-Alfred). praeludium: flowing arabesques in right hand
over steadily moving eighth and quarter notes in left hand; fourth and f,fth
J. S.
BACH
45
mande: two voices, constructed on sequence of descending imitations. Courante: elaborate. Sarabande: different in texture from No'1 but has similar
harmonic and rhythmic structure. Rondeau: base tempo on triplets in bars
86-8T,delightful.Capriccio:brilliant;requiresunflaggingtempo;presents
technical problems greater than any other movement in the Partitas. M-D
to D.
partita No.3 a (S.827). Fantasia: simple textures. Allemande: florid and elaborate'
Corrante: Italian type, light and simple. Sarabande: austere, no character
of a sarabande. Buriesca: slight but original. Scherzo: light. Gigue: three
voices, fugal, inverted second subject, serious and weighty' M-D'
partita No.4 D (5.828). Overture: imposing Grave orchestral opening and spirited contrapuntal Aliegro. Allemande: one of Bach's most moving movements; requires a sustained cantabile line. courante:French type, rhythmic
and fast. Aria: two voices, simple, unhurried. Sarabande: Baroque arabesques in right hand over a steadiiy paced left hand. Minuet: short, simple.
Partita No.6 e (5.830). Toccata: a solid fugue framed in a decorative improvisatory opening and closing. Allemande: extremely rich. corrente: abounds in
rhythmic surprises. Air: light, delicate tune, full of bold keyboard devices.
Sarabande: transcendentally rich ornamentation, most complex of all the
sarabandes. Tempo di Gavotta: elegant and witty. Gigue: conceals beneath
its mockery and banter recondite and masterly fugal writing. A fltting cli
max to the form as used bY Bach. D.
Bach,s first biographer, Forkel, expressed his appreciation for these suites
as foilows: "This work made in its time a great noise in the musical world.
Such excellent compositions for the clavier had never been seen and heard
before. Anyone who had learnt to perform weil some pieces out of them
could make his fortune in the world thereby; and even in our times. a young
artist might gain acknowledgment by doing so, they are so brilliant, wellsounding, expressive, and always new" (Hans David and Arthur Mendel,
The Bach Reader [New York: Norton, 1945] pp'337-38'
,'Bach's Keyboard Partitas: A set of composer's corSee: Walter Emery,
rections?" MT, 93 (November 1952):495-99'