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,