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rey 7 w= im gs Gntterancinbartiais) sree ect i pe any Copii fe memes fe Mudie Chen aT), Ne tt eer stunt Fy n 3. 18 Te ee tm Cone ae ee can Me ig Ned 29 Tel mc ted ar Ops 2b gi nm Cop en oe Thy, SEP ete ti 30-95 Te as bee Cpt’ NSS ‘Anon: Ment in G BWV Anh. 116 Supe tempo: d 616, sa Repeats Sevan’ 1 - my 1s Rie ii Shuton one inven 258 ue J = 2. 10m, The ie ei ight te pled wer Sumelociaramolon tanga 28 ‘Rath ed et elt hy ‘ana Magn ie ern of ti ce, a ‘ice hee Tigo rnin we ‘brea tebe mae oma ey. Semenped = (ane ain tars 2.9 4 10 3 a = FL aaccqiaton iw) 7 Meine iimeliteancane tae BIT! Py cate sme nary Py nt sree ec. Mow crt shoul esighly eed Saget te: arom 2 Ab a Ld deena intr usr ts » 23 efap shake te at ee tga a i ‘Getto eat decd Speed emp: FEhoe! 2” napa pete gt, ete ee TH Suggested porasing: |ITd 9 S773) “Teen ca: pay OID + Uibetihands) wh me mph en ch te4.5, tacks Chora ‘Wer ma ete Gt in wate’ Inver meanest Clr fo Waco 172 ‘Sie Cis Nowe Remar ly ma psa Stesettenped) 2672 Susp 012 - 5 Toba ecm TUES TTL costae nian 1-19 56 ase tern pots dL J «Ld a amielicld d 12 Techn ett te tebe quent dnl od Se ATA code qin 25 ‘te ot nal ay be pe nthe ame a 212 Sappsed tsi J 1d BIL Ye 2 B.S ose uivemintaray Ann Menuet nr BW A L12E Sages emo: 1-3 ‘Theapening hme might be psn ros POT Li 7 Pep mament te tee ne as 912 Pama eon propeld 1) STI lee 1 Tenge to rh mt a= Qy wa C..ah: Marchin Steed caps d= 80. wToae, rob 1415 Suggesed phasing: IJ, Ws Feld 1 FGI (CPE Rac Plone in Go, HA "hii writin Capo ABA) forte It stain (ta) eget (rn ere ice ml con or whch scone ayamic righ te employed. Seep ong J =. 1 the tgwe LTB state ped Zins 2 at page 2 it Supeedpinne 42) STE | {11 Te tied ge ii ps toa Teheran (CPE Bach: Machin GS kets te ty decd Sogae em dees 44 Reng aaa whe a bene dhs Coie ty at TOO TD lee. 1519-Amcl egte in is: Hac: Plan mie, He Stpesedsenpsd 052 Wd Ve3) Tesch plane tytn et alae WBSTTi Sweoedpiming 6) LTQITTI | oe yan cp ‘An ppstiters igh eae Le vt nie, ‘nthe sone ote Cra Noe aS - TR esp sine es Gain he sma nin PTI coe me apts inter 9. Se Menaetin “Thin fit nein mine =, ‘Th opening phe nde ke hw) ye mentor 1d dldd dla | 2 When te 1s eo he mht belied hes). = LIE} Ue same apis the Spvaerente nbs (OA 22on be ep sae 0 eer rina eggs pe eer mito #1 =F thesane atest in tar, “ha es rien Cop ABAD em: pene ot ‘raion mera pea sere sed wht ons nae mig bed Qe nen ‘St sca, te scr ad any en dejomeingaimes |£2d IL) £2 lea 0-19 sot T FRIIS L) | tn 1-10, Spe wm: Mareen Eat BWY Anh 127 Seed oped = 120 144 Toe ping meme pr hs: AN ADNABI NL Ds 9 LEER tmttesmeienezn FED one en 156 pce tomer psn ee TTD TE o iam ‘Anon: Plana aD mina, BUY An Stegsedienpcd «80 1 1.0. 12 epee tn 19 Anan os FEIT TI “Anon: Ment in D minor, BWY An. L182 Steg emp d= 108, 12 Therhmishbeptmed ite! TIL J 4! ‘Peps embei te tei set: J. at teenie sar nesive tx | TTF | 18 Mogteenhatet 5 Chay sparse he stared pis: Foe J. 6h Ain BY Ask 131 ‘Senseo emp J = 1 j.s5sp 13 Theopr pr ie ned e dd Wddd id 3 Reta eh img te) 467 Seager ee TUBING 5 Petrone et bay PTD 1 Asing een mip teste avec: hobs add TL Seeseites wisn Td | 10 eupradiasew techy minh)aed othe Le 1244 The wes we ona a ays at Bock TTT (CP. Back Sl per Cal Fa 16 Sepete emposd =. 1-2 Teopig me ihe are ITT DISS so B.S ieee iesoe ‘Pe inset pte rupee ca 13 Anicdaetine [ETE 28 at van nba Ye Tapa re pepe pt 18 Anil ba | 17-42 Pep al alow nee fr hi ie ‘Seong jor arb onc epic 732 Supesed wc: SDs WI aj. $1 Supe cde |STEDSTEG |e 4S. Mach: Praca a GB 8461 larpando a iy elise “he rich pa sll epee ina ep comale sy Suge temp J 0. LAH Paloma Stepsdienped 284 Thetemale da mite telat ous IZ 2 Pa ~~ LB antsecqiatenintan 1682) Besoin Tne tet THis wh sear "Mover inh (Go uae bs 1S 27) — ‘neatnthe as eon sn. tei utc nti) 2) Ly tote oan 0429CRITICAL NOTES ‘The Clavierbiichlein for Anna Magdalena Bach of 1725 (hence forth AMB 1725) belongs to the music collection of the Staats- bibliothek zu Berlin, Preussischer Kulturbesitz.(shelf-mark: Mus. ms. Bach P 225). A facsimile edition is available (edited by G, von Dadelsen, Kassel, 1988). All the essential spade-work ‘on dating and handwriting has been carried out by Georg von Dadelsen and published in the Kritischer Bericht to Neue Bach- Ausgabe, Series V, Vol. 4 (Kassel & Leipzig, 1957). Like all subsequent students of AMB 1725, the present editor is greatly indebied to Dadelsen. Attributions of anonymous pieces made since Dadelsen’s edition appeared are detailed below, Textual notes refer to AMB 1725 unless otherwise stated. ‘Anon.: Menuet in F, BWV Anh, 11 113 Time signature: 3 C, Petzold: Menuet I & Tin GIG minor, BWV Anh. IT 1L4-115 The attribution of these famous “Bach minuets’ to Christian Petzold, predecessor to W. F. Bach as organist at the Sophien: kirche, Dresden, was made by H.-J. Schulze — see his “Ein ‘Dresdner Menuett” im zweiten Klavierbiichlein der Anna Mag- dalena Bach’, Bach-Jahybuch, 65 (1979), pp. 45-64, The two ‘minuets belong to a ‘Suite de Clavecin par C. Pezold [sic]” transmitted in Berlin Mus. ms. 30500, a manuscript of Leipzig, provenance, copied in 1726 by J. B. Tzschitich from a collection of H. R, Krausse’s, It is possible that Bach received the suite as a gift from Petzold on the occasion of his concert on the new Silbermann organ at the Sophienkirche, Dresden. in September 1725, Menuet I: time signature: 3: b, 8, 2nd bass note: ¢, not d, in error. Menuet IT: key signature: one flat; time signature: 3:b. 27, last treble note: 6” oF d, not bi 31; ornament reads NO F. Couperin: ‘Les Bergeries", Rondeau in B flat Couperin published this piece in his Second livre de pidees de Clavecin (Paris, 1717), pp. 8-9, henceforth OE (Original Edi- tion). Detailed comparison of the two versions cannot be made here (a facsimile of OE can be found in Krit. Bericht, NBA V/4, pp. 122-3). Title, subtitle, expression mark and episode headings are in this edition adopted from OE, as are many slurs and staccatos and certain ornaments (the second grace-note in b, 26 and the shakes in bb. 32, 34 & 36). Other ornaments present in OE only are as follows: Bar Part Sign Ornament 1 So 7 ow 3 Sou ow 4a BS 2da volta: 5 Sol iw TMIS Sw 7 S 6 ow 8a S 3 Ima volta: a» 8b S 2» 2 So} 16 BOS ow 19.23 Solow 20 Solo# 26-8 sow 278 2» 2» 9 8 31.33 2 0 In AMB 1725 the slide in b. I. lst quaver, printed as grace-notes in OE, is notated incorrectly as 94 ; the 3rd bass note of b. 17 is @ quaver, not a crotchet, in error: the omament on the last treble note of b. 17 is (OE: a): the Ist treble note of b. 21 is followed by a quaver rest (cf. b. 20); a mondent is placed above the last treble note in b. 23; the 6th tenor note of b. 23 reads g, not Jin error; and the 6th tenor note of b. 24 reads d, not fin error. Anon.: Menuet in G, BWV Anh, IL 116 b.15,bass.reads 4 4 4 eed, butef.b. 39: 30, Ist treble reads a’, not 6 (ef. b. 29); b. 39, Ist crotehet, rh, reads «BY but cf.b. 15. Anon.: Polonaise in F, BWV Anh. IL 117 First Version: entitled *Polonoise’; b. 3, appoggiatura: ¢", not yb. 4, grace-note: corrected here from ,) 10 810 accord with b.6;b. 16. grace-note: corrected here from to } to accord with . 8. Second Version: no ttle; b. 13: semiqiaver grace-note, but cf. 14, Anon.: Polonaise in G minor, BWV Anh. II 119 ‘This piece is of Polish origin — it belongs to a collection of 13, Polonoises avec la Basse’, each entitled "Taniec’ (Polish for “dance”), which are transmitted in a Leipzig manuscript of 1729. See K, Hlawiczka: *Zur Polonaise g-moll (BWV Anh. 119) aus dem 2. Notenbiichlein fiir Anna Magdalena Bach’, Bach- Jahrbuch, 48 (1961), pp. 58-60. b. 3, 6th treble note: d”, not c*, in error. J.S. Bach: Chorale *Wer nur den lieben Gott lasst walten’, BWV 691 ‘The Clavierhiichlein for W. F. Bach of 1720 contains an auto- raph fair copy. from which Anna Magdalena may have copied the piece into AMB 1725. The autograph contains the following additional ornaments: b. 1: to tenor gb. 3: 4 to Ist tenor a: b. 6: ae to Ist treble 6°: b. 8: ay 10 tenor gf Anon.: Menuet in C minor, BWV Anh. If 121 b. 10, 3rd bass note: ¢, not d but cf. the equivalent note in b. 14, CP. E, Bach: Polonai in G minor, H. 14 ‘An apparently earlier version of this piece formed the middle ‘movement of a three-movement "Sonata per il Cembalo solo di Sig C. P. E, Bach’. The sole source of this sonata, a Hamburg ‘manuscript, was lost in World War II but a copy survived and served as the source of Dadelsen’s edition of the sonata in Appendix I, NBA V/4 (pp. 134-6). Georg Bohm (2): Menuet in G ‘The only surviving source of this piece, J. S. Bach's copy’ in AMB 1725, is entitled ‘Menuet fait par Mons. Bohm’. Dadelsen (Kriz. Bericht, NBA V/4, p. 91) questions whether the composer ‘named is identical with Georg Bahm on the grounds that the piece is very different stylistically from Bahm's clavier suites, Since. however, the Bohm suites date from some thirty years before the entry of the Menuet in AMB 1725, the comparison is ff dubious relevance, Bahm's continuing friendship with Bach during the period when the Clavierbichlein was in use is attested by the fact that in the autumn of 1727 he sold copies on ‘commission of Bach's 2nd and 3rd keyboard Parttas, BWV 826-7.Anon.: Musette in D, BWV Anh, II 126 ‘Time signature: 2 Anon.: Polonaise in D minor, BWV Anh. 11 128 ‘This piece is unnamed in AMB 1725, but it sch in style, hence the editorial title b. 3, 3rd crotchet, treble: # 2° (sic) in error. but ef. bb. 1 and 9, rly a polonaise J.C. Bach: Aria in F, BWV Anh. T1131 According to Schulze, this unnamed piece «the title ‘Aria’ is editorial) is an early compositional effort ot Bach's youngest son's, entered in AMB 1725 by the young J. C. Bach himself, probably not before about 1745. See H.-J. Schulze: "Die Bach- Uberliferung’,Beitrdge cur Musifsvissens huaft. 7 (1975), p.48. ‘Time signature: C:b. 4, Ist treble note: "appears to have been corrected t0 a. not vice vers. C. PLE, Bach: Solo per il Cembalo in E flat, H. 16 Elsewhere (Berlin, Mus. ms, Buch P 368) this piece forms the first movement of the Sonata per il Cembalo in E fat, H, 16 (Wg, 65/7) in its earliest known sersion, The whole sonata in this early version is published by Dadelsen in Appendix Il, NBA V/A (pp. 137-8). b. 21, last treble note: », no J.S. Bach: Praeludium in C, BWV 846 1 ‘The piece is untitled in AMB 1725 and lacks bb. 16-20: for this edition, these five bars have been supplied from the autoeraph (Berlin, Mus. ms. Bach P 415). J.S. Bach: Aria in G, BWV 9881 ‘Anna Magdalena’s text differs litle from that of Clavieriibung 1V (1741; henceforth OE). AMB 1725, b. 11, Ist tenor note: d’ rnot h; b. 12. last treble note: d”, not e": b. 17, Ist ornament: ay not ae; b. 19, bass: © a b, not cb a (ef. b. 18): b. 22, 4th treble rote and appoggiatura: ¢¢", not d3", All these places have been corrected in this edition according to OE. The notation of the appoggiaturas in bb. 6 & 12 has been corrected in accordance with that of b. 2. The frst appoggiatura in b. 20 is present in AMB 1725 only. OE, b. 3, 2nd ornament: Cw : b. 12, 2nd omament: bw :b. 17: 4 to tenor f¢ b. 24. Ist erotchet. treble: eb. 30 altor ve a inG A. Hasse: ‘This piece, which is given anonymously in AMB 1725. isa variant version of “Polonoise 2" in F from a Sonata per Cembalo, del Sigr. Giov, Adolfo Hasse detio il Sassone” tthe sevond of seven Hasse sonatas in Berlin, Mus. ms, 9640, See K.-H. Viertel: "Zur Herkunftder Polonaise BWV Anhang 130°. Mucidelaski Zburnth 13 (Ljubljana, 1977), pp. 3643. The polonaive in question is lacking in the concordance mentioned by Viertel London, Britisa Library, Add. MS 32075).