i nt ro duct ion
The present volume contains Carl Philipp Emanuel
Bach’s first two published sets of keyboard sonatas: the
six “Prussian” (Wq 48) and six “Württemberg” (Wq 49)
Sonatas. The exact date of publication for each collection
is not entirely clear. NV 1790 gives 1743 for the first set
and 1745 for the second, while the Autobiography gives 1742
and 1744, respectively. Advertisements in the Nuremberg
newspaper Friedens- und Kriegs-Currier might have pro-
vided some clarification, but no mention has been found
of the Wq 48 print in any of the 1742 issues, and no issues
from 1743 or 1744 appear to be extant. An advertisement
for the Wq 49 set does show up in 1745, but this is proba-
bly not for the first printing. A composition date for each
of the twelve sonatas is given in NV 1790; for Wq 48 the
dates range from 1740 to 1742, and for Wq 49 from 1742
to 1744. The contents of the two collections are given in
table 1.
The titles of the collections come from their dedi-
cations. Wq 48 was dedicated to Bach’s royal employer,
Friedrich II, King of Prussia (see plates 1–2); Wq 49 was
dedicated to Carl Eugen, the Duke of Württemberg (see
plates 4–5), who had studied keyboard under Bach while
being educated in Berlin, but who by 1744 had reached
the age of sixteen and had assumed his sovereign duties in
Württemberg (in and around Stuttgart). It is not known
whether Bach ever mentioned Wq 48 by its nickname, but
he referred to his Wq 49 set of sonatas as “Würtember-
gisch” on several occasions.1
With his “Prussian” and “Württemberg” Sonatas,
C. P. E. Bach achieved something of a breakthrough to-
ward becoming a representative of the keyboard music
of his epoch. At the time of their publication Bach could
already look back on a decade’s experience dealing with
keyboard sonatas—a process that, especially at the start
of his tenure in Berlin, was marked by a highly self-critical
1. See, for example, NV 1790, pp. 5–6, and various letters: to
Johann Nikolaus Forkel from 10 February 1775, CPEB-Briefe, 1:485–
88; CPEB-Letters, 75–76; to an unknown recipient from 20 Novem-
ber 1779, CPEB-Briefe, 1:800–801; CPEB-Letters, 150–51; to Johann
Gottlob Immanuel Breitkopf from 23 July 1785, CPEB-Briefe, 2:1081–
88; CPEB-Letters, 228–32; and again to Breitkopf from 20 September
1785, CPEB-Briefe, 2:1108–10; CPEB-Letters, 234–35.
[ xi ]
revision of the body of work that had accrued up to that
time.2 For the publication of his two keyboard cycles, Bach
chose engravers and printers from Nuremberg: Balthasar
Schmid for Wq 48, and Johann Wilhelm Windter/Johann
Ulrich Haffner for Wq 49. The connection with Nurem-
berg, for which Bach’s father likely served as the catalyst,
lasted well into the 1760s.3
The source situation of the “Prussian” and “Württem-
berg” Sonatas may be described as quite favorable: both
exist in authorized prints. After their publication Bach
most likely destroyed or gave away the original autographs,
as he would do with later prints. Some autograph sketch
material exists for Wq 49/3 (see appendix), and some em-
bellishments and varied reprises exist for Wq 49/6 (see
source A), but no other source has survived that can be
considered more authoritative than the original prints. It
is unknown how many impressions were made from the
plates, but an examination of multiple surviving exemplars
reveals that some minor changes were made to the plates
for both sets after initial engraving.4 In the eighteenth
century many musicians preferred to copy the sonatas by
hand, either because they could not afford the prints, be-
cause they preferred to read their own script, or because
they preferred to possess individual sonatas instead of the
entire set. Music dealers also offered manuscript copies for
sale that were copied from the original prints; thus a large
number of manuscript copies of both Wq 48 and Wq 49
have survived, none of which can be shown to originate
with the composer himself. It seems that nearly every large
book and music shop in the mid- to late-eighteenth cen-
tury carried both prints, or copies prepared from them,
2.  See Leisinger/Wollny 1993, esp. 142–74.
3.  On the Bach family connections with Nuremberg publishers see
Lothar Hoffmann-Erbrecht, “Der Nürnberger Musikverleger Johann
Ulrich Haffner,” Acta Musicologica 26 (1954): 114–42; Heussner 1963;
Heussner 1968; and Hoffmann-Erbrecht, “Johann Sebastian und Carl
Philipp Emanuel Bachs Nürnberger Verleger,” in Die Nürnberger
Musikverleger und die Familie Bach (Zirndorf: Druckerei Bollmann,
1973), 5–10. C. P. E. Bach contributed a sonata to volume 12 of Haffner’s
Œuvres mêlées as late as 1765. See CPEB:CW, I/5.2.
4. Although Bach consistently refers to “Kupferplatten” (copper
plates) in his correspondence, Heussner suggests that engraving plates
probably were made of pewter by this time. See Heussner 1968, 323.
 table 1.  contents of bach’s “prussian” and “württemberg” collections
Collection /
Caption Heading in Print Key Wq H NV 1790 CV 1772 Place, Date of Composition

Wq 48
Sonata 1 F 48/1 24 p. 4, no. 23 23 Berlin, 1740
Sonata 2 B 48/2 25 p. 4, no. 24 24 Berlin, 1740
Sonata 3 E 48/3 26 p. 5, no. 25 25 Berlin, 1741
Sonata 4 c 48/4 27 p. 5, no. 26 26 Berlin, 1741
Sonata 5 C 48/5 28 p. 5, no. 27 27 Berlin, 1741
Sonata 6 A 48/6 29 p. 5, no. 28 28 Berlin, 1742

Wq 49
SONATA Ima a 49/1 30 p. 5, no. 29 30 Berlin, 1742
da
SONATA II A 49/2 31 p. 5, no. 30 31 Berlin, 1742
SONATA IIIza e 49/3 33 p. 5, no. 33 32 Töplitz, 1743
ta
SONATA IV B 49/4 32 p. 5, no. 31 33 Berlin, 1742
SONATA Vta E 49/5 34 p. 5, no. 34 34 Töplitz, 1743
SONATA VIsta b 49/6 36 p. 6, no. 35 35 Berlin, 1744

among its wares.5 Neither set was sold by subscription, and
thus we have no subscription lists to tell us specifically who
was buying them, but we do have second-hand knowledge
of many customers and users of these works. Most were
musicians, like Haydn and Beethoven, but there were also
others, like the poet Gerstenberg and, presumably, the
royal dedicatees themselves.6 This wide distribution of the
collections, both socially and geographically, contributed
5. A representative example for the German-speaking lands is
Vienna, where many music shops carried C. P. E. Bach’s music, includ-
ing the shop of Peter Conrad Monath, who advertised a set of six so-
natas by Bach in the Wiener Diarium in 1746. See Hannelore Gericke,
Der Wiener Musikalienhandel von 1700 bis 1778 (Graz and Cologne: H.
Böhlaus Nachfolger, 1960), 37.
6. Griesinger remarks, “About this time [late 1750s] Haydn came
upon the first six sonatas of Emanuel Bach. ‘I did not come away from
my clavier till I had played through them, and whoever knows me thor-
oughly must discover that I owe a great deal to Emanuel Bach, that I un-
derstood him and studied him diligently.’ ” (Um diese Zeit fielen Haydn
die sechs ersten Sonaten von Emanuel Bach in die Hände; “da kam ich
nicht mehr von meinem Klavier hinweg, bis sie durchgespielt waren,
und wer mich gründlich kennt, der muß finden, daß ich dem Emanuel
Bach sehr vieles verdanke, daß ich ihn verstanden und fleißig studirt
habe.”) Presumably Haydn is referring to the Wq 48 set here. Georg
August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig,
1810), 13; trans. in Vernon Gotwals, Haydn: Two Contemporary Portraits
(Madison: University of Wisconsin Press, 1968), 12. Beethoven’s early
encounter with two of the “Württemberg” sonatas is documented in
source D 3 for Wq 49, where he copied the slow movements of the
fourth and fifth sonatas in three-stave open score. Gerstenberg wrote
to Friedrich Nicolai on 5 December 1767, listing the works by C. P. E.
Bach that he already owned, including both Wq 48 and Wq 49. CPEB-
Briefe, 1:126–32.
to the elevated artistic and historical position they—and
their composer—attained.
The sonatas in both sets are in three movements, like
Bach’s earlier sonatas, but are longer than the previous
works. In terms of thematic construction and development
Bach finds his way to new, original solutions for writing
keyboard sonatas. Although he had initially relied on the
imitative or suite-like forms and styles of his time, he began
exploring varied movement types, developing the sonatas
of these collections into expressively shaped individual
works—each shows an innovative sense for possibilities of
form and expression, as well as a demanding level of diffi-
culty. On the basis of these achievements Bach’s “Prussian”
and “Württemberg” Sonatas have been called the “most
significant examples of the new style in the realm of the
keyboard sonata.”7
The influence of Bach’s “Prussian” and “Württemberg”
Sonatas as models for the contemporary keyboard sonata,
which rested in large part upon the reception of both sets
throughout virtually all of Europe, did not fail to take
hold. Looking back from the year 1796, Johann Friedrich
Reichardt wrote:
but up to that point no instrumental music had appeared, in
which such rich and yet well-ordered harmony was united
with such noble song, and so much beauty and order reigned
7. “[die] bedeutendsten Zeugnisse der neuen Stilbildung auf dem
Gebiet der Klaviersonate.” Riemann-Musiklexikon, s.v. “C. P. E. Bach,”
12th ed., ed. Wilibald Gurlitt (Mainz: Schott, 1961), Personenteil 1:71.

[ xii ]
 with such original temperament as in the first two sets of so-
natas engraved in Nuremberg and the first concertos of this
master.8
The interest in these sonatas continued into the nineteenth
century. The theologian and scholar Carl Gottlieb Horstig
was still writing positively about the “Württemberg” Sona-
tas in the Allgemeine Musikalische Zeitung in 1809.9 With
the growing awareness of the music of C. P. E. Bach after
1850, the need for new editions of his works, among them
these two sonata sets, grew as well. Three editions precede
the present one: 1) in 1861 in the first volume of Le Tré-
sor des Pianistes, edited by Aristide and Louise Farrenc,
with instructive aesthetic and editorial comments; 2) in
1927 and 1928 in Nagels Musik-Archiv, edited by Rudolf
Steglich, and in subsequent reprints of this edition; 3) in
1999 as part of a four-volume collection edited by Miklós
Spányi, published by Könemann Music Budapest.10 As sa-
lient works of Bach’s keyboard music the “Prussian” and
“Württemberg” Sonatas have inspired studies by Darrell
M. Berg, Günther Wagner, and Wolfgang Horn, to men-
tion a few authors.11
The “Prussian” Sonatas
The publication of C. P. E. Bach’s first set of sonatas, all of
which were composed in Berlin between 1740 and 1742,
was undertaken by the Nuremberg printer Balthasar
Schmid. As early as 1739 Schmid had collaborated on the
publication of the third part of J. S. Bach’s Clavier-Übung,
and he would go on to engrave the fourth part of the
8. “aber keine Instrumentalmusik war bis dahin erschienen, in wel-
cher eine so reiche und doch wohlgeordnete Harmonie mit so edlem
Gesange vereinigt, so viel Schönheit und Anordnung bei solcher origi-
nellen Laune herrschte, als in den ersten beiden in Nürnberg gestoche-
nen Sonatenwerken und den ersten Koncerten dieses Meisters.” Musi-
kalischer Almanach, ed. Johann Friedrich Reichardt (Berlin, 1796), s.v.
“Bach, Carl Philipp Emanuel,” unpaginated.
9. “Die sogenannten Wirtembergischen Sonaten von Bach,” Allge-
meine Musikalische Zeitung (27 December 1809), col. 193–96.
10. See Le Trésor des Pianistes, 20 vols., ed. Aristide Farrenc (Paris:
Farrenc, 1861–72); Die preussischen Sonaten C. Ph. Em. Bachs, 2 vols., ed.
Rudolf Steglich (Hannover, A. Nagel, 1927–28) and Die Württembergi-
schen Sonaten, 2 vols., ed. Rudolf Steglich (Hannover, A. Nagel, 1928);
Spányi, 1:7–56 (Wq 48) and 1:82–144 (Wq 49).
11.  See Darrell M. Berg, “The Keyboard Sonatas of C. P. E. Bach: An
Expression of the Mannerist Principle” (Ph.D. diss., State University at
Buffalo, 1975); Günther Wagner, “Die Entwicklung der Klaviersonate
bei C. Ph. E. Bach“, in Hamburg 1988, 231–43; and Horn. See also Daniel
Heartz, Music in European Capitals: The Galant Style, 1720–1780 (New
York: W.W. Norton, 2003), 396–409.
[ xiii ]
Clavier-Übung (the “Goldberg” Variations, BWV 988) as
well as the Canonic Variations on “Vom Himmel hoch”
(BWV 769).12 Schmid, who called himself an “organist
and engraver” on his title pages,13 undertook the engraving
of Wq 48 himself, assigning it the plate number 20 (for
comparison, Schmid’s edition of J. S. Bach’s “Goldberg”
Variations from 1741–42 has the plate number 16 and the
Canonic Variations on “Vom Himmel hoch” from 1748 has
plate number 28). Schmid brought almost exclusively key-
board music into his publishing house during this time, and
only works that had not been published anywhere before.
Among these works were several collections by students
of J. S. Bach, including Johann Ludwig Krebs, Christoph
Nichelmann, and C. P. E. Bach. The latter was apparently
satisfied enough with Schmid’s work to entrust to him the
publication of his keyboard concerto Wq 11 (1745, plate
number 27) and, after Schmid’s death in 1749, to entrust
his widow with the publication of the keyboard concerto
Wq 25 (1752, plate number 37).
The publication of Bach’s first set of sonatas contributed
to the recognition and acceptance of his unique style of
composition. The outer movements of the “Prussian” So-
natas, with their almost universal “three cadence outline”14
as well as their slow movements, exhibit clearly defined
movement types such as trio sonata (Wq 48/3/ii), inven-
tion (Wq 48/1/i), and gigue (Wq 48/4/iii), along with
freer forms. In the middle movement of the first “Prussian”
Sonata Bach composed an instrumental recitative, thus in-
troducing a fantasia-like element into the work—one of
the few examples of the use of a recitative in a sonata move-
ment in the keyboard music of the first half of the eigh-
teenth century (see plate 3). In a way, Bach demonstrates
in his “Prussian” Sonatas what the keyboard sonata was
capable of around 1740. It was probably above all this sty-
listic breadth—with varied idioms and movement types,
harmonic refinements, dynamic contrasts, unconventional
rhythmic phrases, and ever more pronounced surprise ef-
fects—which led to Bach’s music being described as full
of “stylistic anomalies.”15 Beyond any anomalies one also
finds uniquely elaborated characteristic themes and origi-
12.  Christoph Wolff, “Die Originaldrucke Johann Sebastian Bachs,”
in Die Nürnberger Musikverleger und die Familie Bach, 15–17.
13.  Heussner 1963, 348–62.
14.  Wolfgang Horn, “Neue Wege um 1740: Die Etablierung der Cla-
viersonate in den Preußischen und Württembergischen Sonaten von
Carl Philipp Emanuel Bach,” in Carl Philipp Emanuel Bach im Span-
nungsfeld zwischen Tradition und Aufbruch, forthcoming.
15.  Pamela Fox, “The Stylistic Anomalies of C. P. E. Bach’s Noncon-
stancy,” in CPEB-Studies 1988, 105–31.
nal motivic treatment.16 Such variety in Bach’s conception
of the sonata, in both the “Prussian” and “Württemberg”
sets, exerted a powerful influence on many composers of
keyboard music, principally among them Bach’s direct and
indirect circle of pupils.17
No price for Wq 48 was included on the print; the ear-
liest surviving catalogue from Schmid is from 1761, where
the entry “20. Hn. Bachs Sonaten 1 Gl.” reveals a price of
one Gulden.18 Whether this is the initial price cannot be
determined now. In 1785, Bach believed the plates to have
been destroyed, because Schmid had died in 1749, and be-
cause the Hamburg music dealer Johann Christoph West-
phal was selling manuscript copies at inflated prices. On
this assumption, Bach suggested to the Berlin book pub-
lisher Johann Carl Friedrich Rellstab, who wished to start
printing music using Breitkopf ’s system of musical type,
that he begin by having his typesetters practice on the new
system by setting both the Wq 48 and Wq 49 collections,
in order to get them back in print. This was all part of an
elaborate scheme by Bach to prevent Rellstab from re-
printing Bach’s “Reprisen” Sonatas, Wq 50, of which Bach
still had a considerable stock to sell. Rellstab declined the
offer to reprint the “Prussian” and “Württemberg” Sonatas,
having learned that the plates had not been destroyed and
could easily be reused to print more copies, which would
have competed directly with any edition that he would
issue. In the end Rellstab did print a new edition of the
“Reprisen” Sonatas, much to Bach’s annoyance, but Bach
learned from the exchange that new editions of Wq 48 and
Wq 49 were unnecessary.19 In 1786, Breitkopf sent Bach a
list of all the published works of Bach that he, Breitkopf,
was still offering for sale, along with prices.20 Here the
“Prussian” Sonatas are listed for one Taler, a considerable
appreciation from the one Gulden of twenty-five years ear-
lier, indicating that copies of the print had become scarce.
Indeed, the number of surviving exemplars of Wq 48
16.  Heinrich Besseler, “Bach als Wegbereiter,” in Archiv für Musikwis-
senschaft 12 (1955): 20.
17. See Frankfurt/Oder 2001, particularly Peter Wollny, “Carl Philipp
Emanuel Bachs Berliner Schüler,” 69–81, and Barbara Wiermann, “Die
‘Bachische Schule’—Überlegungen zu Carl Philipp Emanuel Bachs
Hamburger Lehrtätigkeit,” 119–34. In Wollny’s contribution, p. 73,
he describes a keyboard sonata in C major by Bach’s brother-in-law,
Johann Christoph Altnikol, that appears to be modelled very closely on
the “Prussian” sonatas, in particular on the fifth sonata, also in C major.
18.  Heussner 1963, 355.
19. For a full discussion of the Bach/Rellstab feud, see Howard
Serwer, “C. P. E. Bach, J. C. F. Rellstab, and the Sonatas with Varied
Reprises,” in CPEB-Studies 1988, 233–43, and CPEB:CW, I/2.
20.  CPEB-Briefe, 2:1162–67.
[ xiv ]
is rather small. RISM A/I, B 65, lists fewer than thirty.
Still, enough copies have been available for examination
to determine that several changes were made to the plates
for Wq 48 over the course of its printing history. These
changes are discussed in the critical report in the “Source”
section for Wq 48. Based on an examination of multiple
surviving exemplars, there appear to have been four differ-
ent states of the plates, each showing only a single change
vis-à-vis its preceding state, but indicative overall of a will-
ingness on the part of the composer and publisher to im-
prove the edition over time.
The “Württemberg” Sonatas
According to NV 1790 (pp. 5–6) Bach composed his six
“Württemberg” Sonatas between 1742 and 1744 in Berlin
and Töplitz (Teplice, in the Czech Republic). In a letter to
Johann Nikolaus Forkel of 10 February 1775—over three
decades later—Bach provided a bit more information
about the circumstances surrounding the composition of
at least some of the sonatas:
The 2 sonatas that particularly pleased you and are somewhat
similar to a free fantasy, are the only ones of this type I have
ever composed. They belong with the one in B minor I sent
to you, to the one in B-flat that you now also have and to the
2 from the Haffner-Württemberg collection, and all 6 were
composed by me on a clavichord with the short octave in 1743
in Bad Töplitz [Teplice], where at that time I was suffering
greatly from the gout.21
Although Ernst Suchalla has interpreted “all 6” to refer to
the complete “Württemberg” set, Bach specifically refers
to only two sonatas from the “Haffner-Württemberg col-
lection.” Moreover, NV 1790 lists only two of the “Würt-
temberg” Sonatas as having been composed in Töplitz in
1743.22
21.  “Die 2 Sonaten, welche Ihren Beÿfall vorzüglich haben und etwas
gleiches von einer freÿen Fantasie haben, sind die einzigen von dieser
Art, die ich je gemacht habe. Sie gehören zu der, aus dem H moll, die
ich Ihnen mitschickte, zu der, aus dem B, die Sie nun auch haben und zu
2en aus der Hafner-Würtembergischen Samlung, und sind alle 6, anno
1743, im Töpziger Bade von mir, der ich damahls sehr gichtbrüchig war,
auf einem Clavicord mit der kurzen Oktav verfertiget.” CPEB-Briefe,
1:485–88; CPEB-Letters, 75–76.
22.  CPEB-Briefe, 487. For various attempts to identify the other so-
natas mentioned in the letter, see CPEB-Letters, 75, n. 22, and Andreas
Münzmay, “ ‘so viel Schönheit und Anordnung bei solcher originellen
Laune’—Die ‘Württembergischen Sonaten’ von Carl Philipp Emanuel
Bach,” paper read at the conference “Carl Philipp Emanuel Bachs Cla-
viermusik: Stil—Instrumentarium—Aufführungspraxis—Rezeption,”
Stuttgart, 16–17 May 2014.
 The publication of the “Württemberg” Sonatas was un-
dertaken by the Nuremberg lutenist and printer Johann
Ulrich Haffner.23 Most of the editions issued by Haffner
were engraved by Johann Wilhelm Stör, whose name ap-
pears on the title page of this collection (“Stör sc.”) and on
the dedication page (“J. W. Stör sc.”).24
Haffner, known for his clean and trustworthy but ex-
pensive editions, had, like Schmid, made something of a
specialty of keyboard music in the 1740s and 1750s. Af-
ter Giovanni Platti (VI Sonates pour le clavessin sur le gout
italien, op. 1, 1742), C. P. E. Bach, with his Wq 49, was one
of the first composers listed in the Haffner catalogue to
contribute keyboard music. Bach later contributed several
sonatas to Haffner’s various anthologies entitled Œuvres
mêlées that began to appear in 1755.25
A number of the print exemplars of the “Württemberg”
Sonatas name Johann Wilhelm Windter as publisher,
instead of Haffner, on the title page. Windter worked in
Nuremberg first as an engraver for other publishers, then
declared himself independent starting in 1745, and no
later than 1753 began to refer to himself as “Verleger.”26
The question of who first published the “Württemberg”
Sonatas—Haffner or Windter—cannot be conclusively
answered. NV 1790 and the Autobiography again give con-
flicting information: NV 1790 (p. 5) lists Windter while
the Autobiography (p. 203) lists Haffner. A comparison of
several surviving exemplars seems to give precedence to
Windter, as the copies that show earlier readings of plate
changes (see critical report) are all Windter copies. The fi-
nal page of music originally had two blank systems follow-
ing the conclusion of Wq 49/6/iii, but later a table of orna-
ments was added to the first blank system (see plate 7). All
of the copies that lack the table of ornaments are Windter
copies. On the other hand, a newspaper announcement
for the pending publication of the set, from 1 May 1745 in
the Friedens- und Kriegs-Currier, promised a “Sammlung
Gründlich, und vollstimmiger Clavier-Stücken, bestehend
23.  For more on Haffner, see Hoffmann-Erbrecht, “Der Nürnberger
Musikverleger Johann Ulrich Haffner,” 114–26, and Heussner 1968.
24.  Erasmo Schauer and Johann Wilhelm Windter also acted as en-
gravers for Haffner. See Lothar Hoffmann-Erbrecht, “Johann Sebastian
und Carl Philipp Emanuel Bachs Nürnberger Verleger,” in Die Nürnber-
ger Musikverleger und die Familie Bach. Materialien zu einer Ausstellung
des 48. Bach-Fests der Neuen Bach-Gesellschaft, ed. Neue Bach-Gesell-
schaft (Zirndorf: Druckerei Bollmann, 1973), 8.
25. For the sonatas that Bach contributed to Œuvres mêlées see
CPEB:CW, I/5.1. According to an advertisement in the Berlinische Priv-
ilegirte Zeitung from 4 January 1759, Haffner served as a subscription
agent for Bach’s Versuch, most likely for the second edition of Versuch I.
26.  Heussner 1968, 324.
[ xv ]
in VI Sonaten . . . di Carlo Eugenio Duca di Würtemberg
et Teckh., & c. . . . opera II” from Windter, who then also
advertised its eventual availability on 30 July 1745 at the
price of “1 fl. 30 Kr.”27 This, however, would put the Wind-
ter print after Haffner’s, at least according to the date given
in the Autobiography. It is possible that the advertisement
referred to a second release by Windter, perhaps now in-
cluding the table of ornaments. Since both Haffner and
Windter used the same plates for their editions of Wq 49
during a time in which they were simultaneously active as
music publishers, it could also be possible that they were
somehow collaborating instead of competing, and that
they issued their editions at approximately the same time.
RISM lists two additional print editions of the
“Württemberg” Sonatas besides those of Haffner and
Windter.28 In 1770, after Haffner’s death the previous
year and an unsuccessful attempt to continue the business
by Haffner’s widow, the firm’s remaining stock of music
and inventory of printing plates were purchased by Adam
Wolfgang Winterschmidt, who had chiefly been active as
an art engraver and dealer in Nuremberg, but who then
began selling music as well. In 1785 the business passed to
his son Johann Jacob. At some point after this date, Johann
Jacob produced yet another printing of Wq 49 using the
original plates, whereby the only change was to the title
page. The information identifying Haffner as publisher
was somehow removed, and in the resulting blank spot
on the page the younger Winterschmidt wrote in his own
information by hand. Only one such exemplar is known
to have survived. Finally the “Württemberg” Sonatas
were printed and sold by the Bureau des Arts et d’Indus-
trie based in Vienna and Pesth (today Budapest) around
1803.29 This edition was newly engraved using the original
print as its Vorlage.30
As with the “Prussian” Sonatas, a number of manuscript
copies of the “Württemberg” Sonatas based on the print
were in circulation, even though copies of the prints could
27.  Ibid., 331.
28.  RISM A/I, B 66–B 68 and BB 66a. B 66 is the Haffner print, B 67
is an edition by the Bureau des Arts et d’Industrie from the early nine-
teenth century, B 68 is the Windter print, and BB 66a is the “Winter-
schmidt” print under discussion here. B 69 is another supposed edition
of Wq 49, but RISM corrects itself in its supplement volume, where
this Hummel print is correctly identified as an exemplar of Wq 89.
29.  This firm was founded in 1801 and also went by the name Kunst-
und Industrie-Comptoir. See Alexander Weinmann, “Vollständiges
Verlagsverzeichnis der Musikalien des Kunst- und Industrie Comp-
toirs in Wien 1801–1819,” in Studien zur Musikwissenschaft. Beihefte der
Denkmäler der Tonkunst in Österreich 22 (1955): 217–52.
30.  Personal communication from Otto Biba in Vienna.
still be obtained without much difficulty in the 1780s. A
letter of 20 September 1785 from C. P. E. Bach to Breitkopf
describes this situation:
The plates of my Württemberg sonatas are still in Nürnberg.
Winterschmidt has them and is selling these sonatas for as
much as they may fetch. I thought that they were sold out,
but now have learned the opposite from the owner.31
In the “Württemberg” Sonatas Bach further developed
the compositional parameters of his “Prussian” Sonatas.
He intensified the dramatic and expressive impetus and
also the playful possibilities. He continually found surpris-
ing compositional solutions, and applied motivic materials
in ever new ways without ignoring thematic development
and unity of affect. He reorganized the thematic-motivic
realm radically and applied a new formal approach that
Rudolf Steglich called “the thematic reworking of trans-
formable motives.”32 Such a subjectively intensified and
compositionally advanced tonal language must have struck
contemporaries to an uncommon degree, as, too, would
the narrative structure of the sonatas—what Arnold
Schering would later call the “redende Prinzip” in Bach’s
keyboard music.33 The Berlin music theorist Friedrich
Wilhelm Marpurg, in his Critischer Musicus an der Spree
of 1750, shared an interesting anecdote touching on recep-
tion aesthetics:
Our Mr. Bach played some time ago for a good friend of mine
the sixth from the second part of his published sonatas. This
friend told me that he typically would have the misfortune
of growing greatly absent-minded before a piece came to its
conclusion. This time, however, he perceived his [Bach’s] plan
and its execution, which kept him in constant inspiration and
in undivided attentiveness. This good friend is a simple am-
ateur, and he understood the language of tones without the
addition of words.34
31.  “Die Platten von meinen Würtembergischen Sonaten sind noch in
Nürnberg. Winterschmidt hat sie, u. verkauft diese Sonaten, so viel sie
wollen. Ich glaubte, sie wären fort, aber nun habe ich das Gegentheil von
Leschar erfahren.” CPEB-Briefe, 1:1108–10; CPEB-Letters, 235. Clark
transcribes the passage slightly differently than Suchalla, reading “vom
Besitzer” (from the owner) instead of “von Leschar,” whom Suchalla
identifies as an acquaintance of Bach.
32.  Rudolf Steglich, “Karl Philipp Emanuel Bach und der Dresdner
Kreuzkantor Gottfried August Homilius im Musikleben ihrer Zeit,”
BJ 12 (1915), 112.
33.  Arnold Schering, “Carl Philipp Emanuel Bach und das ‘redende
Prinzip’ in der Musik,” in Jahrbuch der Musikbibliothek Peters 45 (1938):
13–29.
34.  “Unser Herr Bach spielete vor einiger Zeit einem meiner guten
Freunde die sechste aus dem zweiten Teil seiner herausgegebenen So-
[ xvi ]
For the first and second movements of the sixth
“Württemberg” Sonata, handwritten ornaments and var-
ied reprises authorized by Bach have survived. These are
realized in the present volume as “composite” readings im-
mediately following the main text of Wq 49/6. Autograph
sketches also exist for arpeggio passages in Wq 49/3/iii.35
A facsimile of the source and a transcription of the passage
are included in the appendix.
Performance Practice
The publishers of both Wq 48 and Wq 49 were confronted
with a multiplicity of problems related to notation and
performance practice. These can in large part be clarified
by the sources themselves or by contemporary writings,
but may in some cases remain unsolved.
The moveable type technique employed by Bach’s later
printer, Johann Gottlob Immanuel Breitkopf in Leipzig,
enabled the insertion of two ledger lines between the up-
per and lower staves of the keyboard score. But the music
engraver, because of the smaller space between the staves,
could only employ one ledger line at most. Thus, in the
continual exchange of melodic runs between the staves, the
rigor of the thematic and motivic development is visible
only in a limited way. Keeping this problem in mind, in
the present volume we have aimed for voice leading that
is easy for modern users to follow, allowing up to three
ledger lines to avoid excessive crossing of staves, as well as
occasionally changing the clef of the lower staff to treble to
improve legibility.
Bach partially answered the question of the “identity of
sound color”36 (i.e., the choice of instrument) for both sets
of sonatas when he mentioned that he had composed the
sonatas Wq 49/3 and 49/5 on a clavichord with a short
octave. Depending on the given performance conditions
Bach’s sonatas are preferably played on a clavichord. There
are other justifiable possibilities: phrases that are idiomatic
to the keyboard—virtuosic runs, arpeggios, and scales—
naten vor. Dieser Freund gestund mir, dass er sonst das Unglück habe,
meistenteils zerstreuet zu werden, ehe ein Stück zu Ende käme. Bei
diesem aber habe er seinen Plan wahrgenommen und eine Ausführung
desselben, die ihn in beständigem Feuer und in unverrückter Aufmerk-
samkeit erhalten. Dieser gute Freund ist ein bloßer Liebhaber der Mu-
sik, und er hat die Sprache der Töne ohne hinzu gekommene Worte
verstanden.” Marpurg, Des critischen Musicus an der Spree (Berlin, 1750),
1:217.
35.  See Leisinger/Wollny 1993, 164–66.
36.  See John Henry van der Meer, Die Klangfarbliche Identität der
Klavierwerke Carl Philipp Emanuel Bachs (Amsterdam: North-Holland,
1978).
and the requirement of two dynamic levels—forte and
piano—suggest a two-manual harpsichord, while the tech-
nical improvement of the fortepiano in the second half
of the eighteenth century enabled performances of the
“Prussian” and “Württemberg” Sonatas on that instru-
ment to gain a foothold. Yet the realization of Bach’s highly
nuanced, expressive aims most easily finds its ideal instru-
ment in the clavichord.
Regarding the tempo relationships of individual move-
ments, the fast opening movements, with their complex
semantics and motivic density, clearly should be played
somewhat slower than the closing movements. The Adagio
and Andante middle movements allow a deeply expressive
idiom to unfold. In the Adagio of the sixth “Württemberg”
Sonata Bach calls for an agogic-minded player, as he wrote
in Versuch I:
In the first Allegro and its following Adagio of the sixth so-
nata in B minor of my second printed collection there are
also examples of this [Anhalten der Noten]. Especially in the
Adagio an idea occurs which is transposed three times, in the
right hand with octaves and in the left with fast notes; this is
adroitly achieved through a gradual and gentle speeding up
with each transposition alternating shortly thereafter with a
languid slowing down.37
A general problem—undoubtedly caused in many cases
by the customary work habits of the music engraver—is
that Bach’s thematic ideas in their overall form are not
always instantly recognizable in the first printing, for in-
stance when themes that begin on an offbeat are beamed
together with the previous note on the downbeat. Where
such cases occur at the beginning of a full statement of a
theme we generally break the beam in order to clarify the
thematic structure as realized by the composer.
The use of ornaments is less clearly indicated in the
“Prussian” than in the “Württemberg” Sonatas; some ex-
emplars of the latter even provide a table of ornaments,
although not one authorized by Bach.38 A sometimes
37.  “Im ersten Allegro und drauf folgenden Adagio der sechsten So-
nate in H moll meines zweyten gedruckten Theils sind auch Exempel
hiervon [Anhalten der Noten]. Besonders im Adagio kommt ein Ge-
danke durch eine dreymalige Transposition, in der rechten Hand mit
Octaven und in der linken mit geschwinden Noten vor; dieser wird
geschickt durch ein allmähliges gelindes Eilen bey jeder Uebersetzung
ausgeführet, welches kurz drauf sehr wohl mit einem schläfrigen An-
halten im Tacte abwechselt.” Versuch I:3, §28; CPEB:CW, VII/1, 156.
38.  “One will see from the following that the explanation of some or-
naments in the second collection of my sonatas, which the publisher
had the effrontery to append under my name, although without my
knowledge or approval, is incorrect.” (Man wird aus dem folgenden se-
[ xvii ]
contentious point is the realization of appoggiaturas. The
performance rule established in the Versuch several years
after the publication of Wq 48 and Wq 49 stipulates that
appoggiaturas preceding an undotted note must be held
for half the note’s value, but preceding a dotted note an
appoggiatura must be held for two-thirds the value of the
main note. This rule works on the whole for Wq 48, even
though many of the appoggiaturas are notated “incor-
rectly” (according to the Versuch); cases in which the rule
does not apply have been indicated in the critical report. In
Wq 49, on the other hand, the notation and performance
of appoggiaturas usually adheres to the prescriptions in
the Versuch.39
The following is a list of the ornament symbols used in
the present volume (see CPEB:CW, VII/1, 61–138 for the
complete section on ornaments in the Versuch):
tr,  Trill, regular trill (Triller, ordentlicher Triller;
see Versuch I:2.3, § 1–21, and Tab. IV, Fig. xix–
xxiii)
 Short trill (halber Triller, Pralltriller; see Versuch
I:2.3, § 30–36, Tab. IV, Fig. xlv–xlviii, and
Tab. V, Fig. xlix)
,  Turn (Doppelschlag; see Versuch I:2.4, § 1–26,
and Tab. V, Fig. l–lxii)
 Trilled turn (prallender Doppelschlag; see Versuch
I:2.4, § 27–36, and Tab. V, Fig. lxiii–lxx)
 Mordent (Mordent; see Versuch I:2.5, § 1–15, and
Tab. V, Fig. lxxii–lxxv)
Acknowledgments
I owe particular thanks to the following persons. First I
would mention Phillip Schmidt, who as my assistant re-
liably and meticulously participated in the editing of this
volume from the beginning. This involved the examination
of and commentary on various sources, as well as the mu-
sic and the critical commentary. With respect to technical
questions of playing and performance practice I received
hen, daß die dem zweyten Theile meiner Sonaten beygefügte Erklärung
einiger Manieren, welche der Verleger unter meinem Namen, ob schon
wider meinen Willen und Wissen anzuhängen sich nicht entblödet hat,
falsch ist.) Versuch I:2.1, §29; CPEB:CW, VII/1, 68. See also the critical
report.
39.  “Von den Vorschlägen,” Versuch I:2.2; CPEB:CW, VII/1, 69–82;
see also the fuller discussion of appoggiaturas in the critical report.
encouragement and help from Christine Schornsheim,
Ludger Rémy, Michael Rische, and Andreas Staier, for
which I am also sincerely grateful. From virtually every
library and archive whose holdings include C. P. E. Bach
materials and which are mentioned by name in the critical
commentary, I received dependable support, be it through
making copies available or through information regard-
ing the sources. Specifically I am particularly obliged to
Martina Rebmann (D-B), Karl-Wilhelm Geck (D-Dl),
[ xviii ]
and Daniel Boomhower (US-Wc). The present volume
would not exist without my close and helpful work rela-
tionships with specialist scholars including Darrell Berg,
Otto Biba, Wolfgang Horn, and Andreas Münzmay, as
well as colleagues at the Bach-Archiv in Leipzig—particu-
larly Christine Blanken, Wolfram Enßlin, Peter Wollny—
as well as Paul Corneilson and, especially, Mark W. Knoll
at the CPEB:CW editorial office. To them also I express
deepest thanks.
Hans-Günter Ottenberg
 3

Sonata I in F Major
Wq 48/1
Poco allegro tr tr

11 tr tr tr

16 tr

21 tr tr

26 tr

© 2015 The Packard Humanities Institute

4

32 tr tr

39

46

53 tr tr

60

67 tr tr

74 tr

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 5

Andante

3
p

3 3 Recitativo
tr

f 4
2 4

6
6 4 5

9 tr

12 Recitativo tr

f 6
p
2 6 5

16 tr tr

19 tr tr
tr

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6
Vivace

14

21

28 tr

35 tr tr

© 2015 The Packard Humanities Institute

 7

41

49

57 tr

65

73

81 tr tr tr

© 2015 The Packard Humanities Institute

8

Sonata II in B-flat Major

Vivace Wq 48/2
tr tr

11 tr

15 tr

© 2015 The Packard Humanities Institute

 9

18

21

24 3
tr tr

27 tr tr
tr tr

31 tr tr
tr

35 tr
tr 3
3

© 2015 The Packard Humanities Institute

10

39 tr
tr tr

44 tr

48

52 tr

56 tr

60 tr

© 2015 The Packard Humanities Institute

 11

63

66 tr 3 tr

72

75 tr
3 tr tr

tr tr tr
80 tr tr tr

87 tr 3 tr
3

© 2015 The Packard Humanities Institute

12

Adagio

p f

4 *

p
f

8 tr

11

14

3
p

17 tr

p 3 f
f

*See commentary.
© 2015 The Packard Humanities Institute
 13

21

p f

25

29

32

f p

35 tr

38 tr

p f

© 2015 The Packard Humanities Institute

14
Allegro assai

8
tr

p f

15 tr tr

21

p f

28 tr tr

35

f
pp

41

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 15

48

55

61 tr

68

75 tr

82 tr

89 tr Adagio

p pp

© 2015 The Packard Humanities Institute

16

Sonata III in E Major

Poco allegro Wq 48/3
tr

15

22 tr

29

35 tr

41

© 2015 The Packard Humanities Institute

 17

47 tr

p f

53 tr 3

60

68

74

80

87 Adagio

© 2015 The Packard Humanities Institute

18
Poco allegro
94 tr tr

102

109

117

p f

Adagio

10 tr

© 2015 The Packard Humanities Institute

 19

15

f p

20

pp p

25

f p

30

34

39

f p
pp

© 2015 The Packard Humanities Institute

20
Presto

11

18 tr tr

25 tr

32 tr

© 2015 The Packard Humanities Institute

 21

39

46 tr

53

60

67

tr

73

tr

© 2015 The Packard Humanities Institute

22

Sonata IV in C Minor
Wq 48/4
Allegro 3 3

f
p

8 3 3 3 tr

12

p f

16 tr tr

20 tr tr tr

f p

24 tr

3
f

© 2015 The Packard Humanities Institute

 23

28
tr

p f

31
3
3
3

35
3 3
3

38 tr

41

45 tr

p f

48 tr tr
3 tr

© 2015 The Packard Humanities Institute

24

51 3 3 3

55 tr

59 tr tr
tr

f p

63 tr

f 3

67 tr

p f

Adagio

f p f p f

© 2015 The Packard Humanities Institute

 25

13 tr tr
tr

p f p

20 tr

f p

26 tr

f p f p

32 tr

p p f
f f

38

44

p f p f p

50 tr tr
tr tr

f p f

© 2015 The Packard Humanities Institute

26

Presto tr

13

18 tr

23

27

© 2015 The Packard Humanities Institute

 27

31

f
p

35

40

45

49

53

57

© 2015 The Packard Humanities Institute

28

Sonata V in C Major
Poco allegro Wq 48/5

16

23 tr

32 tr

39 f tr 1 2
tr

47

© 2015 The Packard Humanities Institute

 29

54

60 tr

67 tr f
tr

p f p

f
75 Adagio

82 Poco allegro tr
tr

90 tr

98 f 1 2
tr

© 2015 The Packard Humanities Institute

30
Andante
tr

9 tr 3 tr
3

17 tr tr
3
3

tr
26 tr

36 tr

46 tr

56

© 2015 The Packard Humanities Institute

 31

65 tr tr tr

75 tr

84 tr

94

104 tr
tr tr

113 tr tr

123 tr

© 2015 The Packard Humanities Institute

32

Allegro assai

16 tr

23 tr
tr

30

36 tr tr

43

© 2015 The Packard Humanities Institute

 33

50

f p f p

57

63

69 tr tr

75 tr

81

87 tr

© 2015 The Packard Humanities Institute

34

Sonata VI in A Major
Wq 48/6
Allegro tr 3

p f

11

p p

17 3

22 tr

27 tr 3

© 2015 The Packard Humanities Institute

 35

32

3
36
tr

40
tr

poco adagio allegro

45

p f

52 tr

3
3

57 tr

3
3

© 2015 The Packard Humanities Institute

36

62 tr
3 tr 3 3

68 3
tr

3
3

73

77 tr

83 tr

3
f

88 tr

p f

© 2015 The Packard Humanities Institute

 37

95

99

103

3
3 p f

109 tr 3

114 3 tr

118 tr

© 2015 The Packard Humanities Institute

38

Adagio 3

5 3

f p

9 tr

f p

13

17

20

p f

© 2015 The Packard Humanities Institute

 39

24

28

p f

32

36

40 tr

44 tr
tr

© 2015 The Packard Humanities Institute

40

Allegro

9
tr

f f

18 f

25

33 tr

41

47

© 2015 The Packard Humanities Institute

 41

55

62 poco adagio

p f p

69 allegro

79

87

95

104

© 2015 The Packard Humanities Institute

42

113

119 tr

126

p f

133

141

149

© 2015 The Packard Humanities Institute

 43

158

167 tr

176

182

190

p f

198 poco adagio

p f p

© 2015 The Packard Humanities Institute

 47

Sonata I in A Minor
Moderato Wq 49/1

3 p
3 3

3 3
f

10

3 3

12 tr tr

© 2015 The Packard Humanities Institute

48

14 tr tr tr

16

3
tr p
f

18 tr tr
tr

20 1 2

22

3 3 3
p

24 3 3

26

© 2015 The Packard Humanities Institute

 49

28

30

32

tr
34

36 tr tr tr

38 tr
tr

3
f

40

© 2015 The Packard Humanities Institute

50

42

44 tr

f
p 3

3
tr
47

tr
49 tr tr

51 tr
tr

3
f p

53 tr tr

55 1 2
tr tr

© 2015 The Packard Humanities Institute

 51
Andante
3

13 tr

19 adagio andante

p f

25

30

© 2015 The Packard Humanities Institute

52

36
3

42

47 adagio

53 andante

p f

58

64 3 tr

© 2015 The Packard Humanities Institute

 53
Allegro assai

14

21

28

34

© 2015 The Packard Humanities Institute

54

39

46

52

58 tr

64 tr tr
tr tr

71

77

© 2015 The Packard Humanities Institute

 55

84

91

98 tr

104

110

116

122

© 2015 The Packard Humanities Institute

56

128

135

142

149

156 tr

163

169 tr tr tr tr tr

© 2015 The Packard Humanities Institute

 57

Sonata II in A-flat Major

Wq 49/2
Un poco allegro tr

10 adagio tr

allegro adagio
14 3 allegro

p f

18
tr

22 adagio allegro

pp

tr
26

© 2015 The Packard Humanities Institute

58

31 tr

35 tr tr

39

42

45 3
adagio allegro

p f

49
adagio allegro
tr

pp f

53

© 2015 The Packard Humanities Institute

 59

57

62 tr

65

68 adagio tr
allegro adagio allegro

3
p f

73 tr

77 adagio allegro

pp

81 tr

© 2015 The Packard Humanities Institute

60
Adagio

p f
p

f 3
tr

tr

11

14 tr tr

18 tr

p f

© 2015 The Packard Humanities Institute

 61

23

27

30 tr

p f

34
3

37

41 tr tr

© 2015 The Packard Humanities Institute

62

Allegro
3 3

7 3 tr

13
tr tr tr

tr
20 tr
tr

p f

26
tr

3 33 3 tr

39 tr

© 2015 The Packard Humanities Institute

 63

45

51

57 tr

pp f 3

65 tr 3 3
3

3 3

72 tr tr tr

79 tr tr tr

p f

86 tr

© 2015 The Packard Humanities Institute

64

Sonata III in E Minor

Allegro Wq 49/3

9 tr

tr

14
tr

19 tr p tr

p
25 tr

f p f

30 1 2

© 2015 The Packard Humanities Institute

 65

34

38

42 tr

46 p

51 tr tr

f p f

56

61

© 2015 The Packard Humanities Institute

66

66 f

71 f

76

81 tr tr

86 1 2

Adagio

p f

7 3
3 tr

3 p f
tr

© 2015 The Packard Humanities Institute

 67

13

p f

20 tr 3 tr

p f p p
f

26 3
tr

f p f

32 3

p f

39

p p f

44

p f

49 3
3 tr

pp f tr

© 2015 The Packard Humanities Institute

68

Vivace
3 3

8 3

17

25

32 3

40 3

49

© 2015 The Packard Humanities Institute

 69

56

64

72

80
3 3

88 3

95

103

© 2015 The Packard Humanities Institute

70

Sonata IV in B-flat Major

Un poco allegro Wq 49/4

p
f

7 tr tr

13

18

23 3 3

3 p f

28

© 2015 The Packard Humanities Institute

 71

33 1 2
tr tr tr

37

43 tr

p f

50

56 tr

62

67 tr

© 2015 The Packard Humanities Institute

72

73 tr tr

p 3

79

85

90 tr 3
3

3 3
p

95
3

101 tr tr 1 2
tr

© 2015 The Packard Humanities Institute

 73

Andante tr

6 tr
tr

12

15

tr

© 2015 The Packard Humanities Institute

74

18

21

24

27 tr

30

33

© 2015 The Packard Humanities Institute

 75

Allegro

14 3
tr

p f

21

28

tr
34 tr

f p

© 2015 The Packard Humanities Institute

76

40 tr 3 3 tr

47

p f

54

3
p

61 3

67 tr

73

© 2015 The Packard Humanities Institute

 77

79

85

91

98 tr tr

p f

105 tr

p f

113 tr

3 3
p f

© 2015 The Packard Humanities Institute

78

Sonata V in E-flat Major

Allegro Wq 49/5
tr tr

5 tr tr tr tr 3
3

10 tr

14 tr tr 3

18 tr

3
p

23 tr
tr

pp f

© 2015 The Packard Humanities Institute

 79

27 tr
3 tr tr

p f p

32 tr tr

tr
36 tr

40 1 2
tr

43 tr
tr

48

© 2015 The Packard Humanities Institute

80

52

56 tr

60 tr

64

68 tr tr tr

3
p pp 3 f

73 tr tr

77 tr
tr tr

© 2015 The Packard Humanities Institute

 81

81 tr tr tr

85 tr

89

92

96 3 tr
tr

101 tr
tr

105 1 2

tr

© 2015 The Packard Humanities Institute

82

Adagio

11

15 tr

20

24

© 2015 The Packard Humanities Institute

 83

27 tr

31 tr

tr

36

41

46

50

© 2015 The Packard Humanities Institute

84
Allegro assai

8 tr tr

15 tr

22 tr

29 tr

35

43
tr tr

© 2015 The Packard Humanities Institute

 85

51 tr

59

65 tr tr

73

tr
80

87 tr

93

© 2015 The Packard Humanities Institute

86

Sonata VI in B Minor
Moderato Wq 49/6
tenute

p f p f p

f p

8 tr tr

f p f p

12 tr
tr

f p f p f p

16 tr tr

f p f

19

p f p f p
tr

© 2015 The Packard Humanities Institute

 87

23 tr

f p f

26 tr tr

p f

29

32 tr
tr tr

3
p f p

35
tr tr

tr
38

p f p f

© 2015 The Packard Humanities Institute

88

41 tr
tr tr

44 tr

p f p f

47 tr

49 tr tr

51

53 tr

55

p f p

© 2015 The Packard Humanities Institute

 89

59

f tr

61

tr
63 tr tr

f p f p

tr
66 tr

Adagio non molto

p f

11

© 2015 The Packard Humanities Institute

90

15

p f p

20 tr

f p f p

26 tr

31

35
tr

40

© 2015 The Packard Humanities Institute

 91

44

47

50

53 tr

p f

57

p f

61

© 2015 The Packard Humanities Institute

92

Allegro

tr
6

12 tr tr

18

24 tr

30

© 2015 The Packard Humanities Institute

 93

36 tr tr

42 tr

tr

tr
48

54

60

66

© 2015 The Packard Humanities Institute

94

72

77

tr

82

87

tr

92 tr

97

© 2015 The Packard Humanities Institute

 95

102

107

112 tr

118

123 tr tr

128 tr

tr

© 2015 The Packard Humanities Institute

96

Moderato in B Minor
Composite reading of Wq 49/6/i*

p f p f p

f p

8 3

f p f

11 3 3

p f p f p

14 tr tr 3 tr

f p p
f

17 tr

f
tr

20
3

p f p f p

*Incorporating varied and embellished readings from D-B, Mus. ms. Bach P 1135; see commentary.

© 2015 The Packard Humanities Institute

 97

23

f p f

26 tr

28

p f

30

32 tr tr

p f p

35
tr

37

p f p

© 2015 The Packard Humanities Institute

98

40

42

44

p 3
f

46

p 3 f

48 tr

50 tr

52

© 2015 The Packard Humanities Institute

 99

54

p
f

56

f p

58

60

tr

62 3

p f p

tr
65

f p f

67

© 2015 The Packard Humanities Institute

100

Adagio non molto in B Major

Composite reading of Wq 49/6/ii*

p f

11

15

p f p

19

f p f

24

p f

*Incorporating varied and embellished readings from D-B, Mus. ms. Bach P 1135; see commentary.

© 2015 The Packard Humanities Institute

 101

28

32

p f

36

40

44

47

© 2015 The Packard Humanities Institute

102

50

53

p f

56

p f

60

63

© 2015 The Packard Humanities Institute