J.S. BACH et al The Anna Magdalena Bach Book of 1725 Edited and annotated by RICHARD JONES THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC 107 by The Associated Board of the Royal Schools of MusicAnon, Petzold, Christian Couperin, Frangois Anon. Anon. Anon, Anon, Bach, Johann Sebastian Anon, Anon, Bach, Carl Philipp Emanuel 2Bohm, Georg Anon. Anon. Anon. Anon. Bach, Johann Christian Bach, Carl Philipp Emanuel Bach, Johann Sebastian Bach, Johann Sebastian Hasse, Johann Adolf CONTENTS Introduction Menuet in F, BWV Anh. II 113 Menuet [I] in G, BWV Anh. 11 114 Menuet [II] in G minor, BWV Anh IT 115 “Les Bergeries’, Rondeau in B flat Menuet in G, BWV Anh. I 116 Polonaise in F [First Version], BWV Anh. II 117a Polonaise in F [Second Version}, BWV Anh. II 117 Menuet in B flat, BWV Anh. IL 118 Polonaise in G minor, BWV Anh. I 119 Chorale ‘Wer nur den lieben Gott list walten’, BWV 691 Menuet in A minor, BWV Anh. II 120 Menuet in C minor, BWV Anh. II 121 Mareh in D, HL. Polonaise in G minor, H. 1.2 March in G, H. 1.3 Polonaise in G minor, H. 1.4 Menuet in G Musette in D, BWV Anh. II 126 Marche in E flat, BWV Anh, II 127 Polonaise in D minor, BWV Anh, II 128 Menuet in D minor, BWV Anh, II 132 Aria in F, BWV Anh. II 131 Solo per il Cembalo in E flat, H. 16 Praeludium in C, BWV 846/1 Aria in G, BWV 988/1 Polonaise in G Performance Notes Critical Notes‘Anna Magdalena Bach, née Wilcke (1701-60), was a professional singer at the court of Céthen during the period when Johann Sebastian Bach was employed there as Capellmeister (1717-23). Not long after their marriage, which took place on 3 December 1721. Bach wrote for her five keyboard suites (French Suites Nos. 1-5, BWV 812-16). entering them in alittle manuscript book entitled *Clavier-Buichlein vor Anna Magdalena Bachin Anno 1722", This dedication suggests that Anna Magdalena was, quite apart from her talents as a singer, an aspiring clavier player, receiving tuition from her husband. Anna presumably made steady progress on the clavier, for in 1725 Bach dedicated to her two much more difficult suites (Partitas Nos. 3 and 6, BWV 827 and 830). These became the first entries in a new Clavierbiichlein or litle keyboard book, whose title was made up of her initials, and the year: “A. M. B. 1725’. It is from this later book that the contents of the present edition are selected. Bach may have presented it to his wife, as H.-J. Schulze conjectures, on the occasion of her birthday (22 Septem- ber) or perhaps on their wedding anniversary ‘The book seems to have been filled up gradually over the next twenty years or so, mainly by Anna Magdalena herself, though with occasional contributions from her husband and the children. It seems to have functioned as a family album in which Anna could collect together favourite pieces of hers, composition attempts of the children’s and pieces by musician-acquaintances, in some ‘cases pethaps copied from the family guest book. Favour- ites of Anna Magdalena’s very likely include Johann Sebastian's Praeludium in C from The Well-Tempered Clavier I and his Aria from the Goldberg Variations, as well as Frangois Couperin’s Rondeau *Les Bergeries’ ‘Compositions by the Bach sons include five pieces by Carl Philipp Emanuel, written before he left home in 1734 at the age of twenty y n, written around 1745 when he was only about ten, and probably several among the many anonymous pieces in the collec~ tion (the likeliest candidates are the Potonaises, BWV Anh. I 117 and 128, the Menuets, BWV Anh. It 120, 121 and 132, the Musette, BWV Anh. I 126, and the Marche, BWV Anh. II 127). Composers represented who ‘were on friendly terms with the Bachs include the Liine- burg organist Georg Bohm (1661-1733) (assuming that he is the ‘Monsieur Bohm’ concerned) and the Dresden musicians Christian Petzold (1677-1733) and Johann ‘Adolf Hasse (1699-1783). Anonymous pieces that may have been written by friends of the family include the Menuets, BWV Anh. II 113, 116 and 118, Anna Mag- dalena’s experience as a singer is reflected in the inclusion of a dozen chorales, sacred songs and arias, one of which is the celebrated lullaby “Schlummert ein, ihr matten Augen’ from Johann Sebastian’s solo cantata fel habe genung, BWV 82 (1727). As a whole, the book offers an illuminating portrait of domestic music-making in the Bach family home during the greater part of the Leipzig period (1723-50). NTRODUCTION The present edition contains all the keyboard pieces in the collection, apart from the early versions of Partitas, Nos. 3 and 6, BWV 827 and 830, and the incomplete copies of French Suites Nos. | and 2, BWV 812 and 813. Excluded are the chorales (except for the keyboard setting of “Wer nur den lieben Gott lisst walten’, BWV 691), sacred songs and arias, the poem ‘Ihr Diener, werte Jungter Braut” and two sets of figured-bass rules. On the front cover of this edition, the central feature of the original front cover is reproduced: the monogram °A. M. B.’ and the year “1725”, both in gold, together with C.P. E, Bach’s subsequent conversion of his stepmother’ s, initials into her full name. ‘The performance notes that follow the music pages provide guidance on appropriate tempo, phrasing and articulation and the realization of omaments. They also indicate where further ornamentation might be added in accordance with the playing style of the period. Sugges- tions for dynamics, however, are given only where they are clearly warranted by structural factors: any other proposals of the editor's would be no more authoritative than a dynamic scheme carefully worked out by the player. The original order of the pieces is retained up to and including the Polonaise in D minor, BWV Anh. If 128 (the order of the last six pieces in the Clavierbiichlein is, in any case, not chronological). The original text is, in this edition, followed as closely as possible. Treble clef replaces the soprano clef in the upper stave; and fingering is provided throughout. Any other editorial additions are shown in square brackets or small print, except for added slurs and ties, which are printed in the form ——~ Richard D. P. Jones Oxford, 1996Menuet in F BWV Anh. IT3,Menuet [I] in G BWV Anh 114 sin Pe eSMenuet [II] in G minor BWV Anh 15 isin Fels Menuet! Da CapoLes Bergeries Rondeau in Bf rang Couperin “68-1735. ios)ae + 2 Da Capo la Fine}10 Menuet inG BWV Anb. 11116,n Polonaise in F [First Version] [BWV Anh ira oa te2 Polonaise in F [Second Version] BWV Anh. 117 vg 41B Menuet in B flat BWV Anh. 11118,Polonaise in G minor BWV Anh. 1119 Chorale ‘Wer nur den lieben Gott lisst walten’ BWV 691 Johann Sebarian Bach $ ® (os5-1750)Menuet in A minor BWV Anh. 1112016 Menuet in C minor BWV Anh. 121March in D Had (Cat Phipp Emanuel Bach diie38)Polonaise in G minor HA (Cat Ppp Smanvel BachMarch in G HAs (Cat Ppp Emanuel BachPolonaise in G minor Ha Cat Pitpp Samuel Bacha Menuet inG Georg Bat (osi-i733)Musette in D BWV Anh. 11126 DiCapo al Fine] Marche in E flat BWV Anh. 11127Polonaise in D minor BWV Anh, 1128 Menuet in D minor BWV Anh, 11152 Avon,Aria in F BWV Anh, 11131 Johann Chrntan Bach (a735-82)Solo per il Cembalo in E flat H.16 (Cat Pilpp Emanve! BachPraeludium in C BWV 846 : Johann Sebastian Bach jocad jac apd jitAria inG BwVo8e/ Johann Sebastian BachPolonaise in G ohana Adott Hasse (s98-1783)PERFORMANCE NOTES (gave hp = Lie how trea 6a cee Tye sented tempo d 10. 4 Tepe she ath cd 58 Vemedpirsinginitncegd 44 [04 J ‘mr ote mp he mye ‘sagt ou ing nr ts aap 210 Pencin shone wou | STITT IT "eter, STL oo gamete ee (mits 23 Theetler' mig beomamented ths J. TT) Ss EER Ptr: Menuet 1 & in GG ioe, snivannc nines ‘Te twominnt tong apa anh payed ‘eaemen i Met Mens Ment wat ‘Scat ong pe om te ee fe Supe eos d= 126, 1-2 Spade peg LA ho pete paige shine 1D TTTIIL 9 | 2 Payal menses AL (61415 Amora mite alto tee othe ar ‘hramiogy wih ofta S15 8 ae DY 16 "Tipe x mibeombette a: oi 20 Rote anette cf thes 4) = SED 22.27 Theme ete igh eemblished by aly santa) 2431 Peni t n oey oe Teeny pence trots le wo 111-40) 32 Spades ce Sent pig eS aa 4.12 Aig pon might ei 1. esp a mre Ment 3 ote ‘ene aac ary analogy iat 1. s 1 -RL _ 4). ingen ed Sei pimped). sa 2 Ait alee aetna 21 Tend Solenoid as 43-13 sas eho mi mt a 27 Unione och ig he hai tpl | ‘Ye rhihebeenblised sins 9&2 a 2-5 te nl a te se + ett nn remgeepermnsen ie panned son enon, Sed in ris we “tee Sao eat tetera, SRT SR Ee etm ‘er cnr rcs he player eps enn ‘Seeing fos mata Seat fs ep seitenstennt wel Rios ol rma tana “Seta ane ai aoa Senna iniae tue FD = DD sopgesed eared = 120