Johann Sebastian Bach (1685-1750)

Suite I for Violoncello solo

BWV 1007

Arranged for Saxophone or Oboe by Robert Würz

Sources:
1. Anna Magdalena Bach - Manuscript, n. d. (ca. 1727-31)
2. Johann Peter Kellner - Mauscript, n. d. (ca. 1726)
3. Schober and Anonymous (2 copyists) – Manuscript, n. d. (ca 1750-99)
4. Anonymous – Manuscript, n. d. (ca 1775-1800)

About this Edition

This edition is to be understood as an urtext edition in the sense that, apart from the
arpeggiated double stops, transpositions and breath signs, no tempo, dynamic or phrasing
markings have been added and all articulations are derived from the four historical sources.

An attempt was made to retain as many of the double stops and chords as possible in
arpeggiated form, and only in a few cases for tonal reasons were these either thinned out or
individual chord tones shifted down an octave. It’s up to the performer to decide according
to their own taste and instrumental-technical possibilities which of the arpeggios to play and
which to leave out. In general, it makes sense to play more arpeggios in the repetitions or to
use them as material for ornamentation.

In Bach’s music, it’s often difficult to decide where it makes musical sense to breathe. Many
times he likes to connect phrases in such a way that the end of the preceding phrase
simultaneously forms the beginning of the next phrase, creating an organic, free-flowing,
overarching musical line that doesn’t always welcome pauses for breathing.
Passages where breathing is not problematic are marked with a "V". Places where breathing
could disturb the flow and should therefore be done as unobtrusively as possible are marked
with a " , " (comma character).
However, since music is open to interpretation, these breath marks should be understood
merely as suggestions. After all, each performer should breathe in a way that seems most
natural and meaningful to them.
Saxophone
or Oboe Suite I in G major
BWV 1007
(transposed to F major) J. S. Bach (1685-1750)

           
arranged by Robert Würz 2022
Prélude

     
    

  
 

                     
     
    
3

                      
      
  
5

                     
        
 
7

      
                       
  
9

                        
       
11

                      
         

13

      
                         
15

       
           
            
17

    
                
       
19

  
© 2022 Robert Würz (Non-commercial copying welcome)
  
      
3


         
21

  
      
                
     
23

               
   
   
25

 

           
             
    

27

                
          
   
29

                              
 
31

                  
   
33

                            
  

35

             
                     

37

            
               
    
39

  
            
  
41


           
           
4

  
Allemande



                            
        
  

3

                             

 
     
   

6

                          
    
  
9

  
          

    
     
 
11

 
            

            

 
14


 
 17                   ♭        
       
          


            
                      
           
20

                        
          
23


                                     
 
    
25

                      
              
  
28

  

    
            

          
31


             

5

   
    
Courante

 
                        
   
  
5


            

                 
   

8

         
  
         
  
12

  
               
           
15

 
 19               
         

                             
 

23


  
            
     
  

26


                         

             
30


     
   
 
34


                
   
   
37

                   
    
   
40


             
    
         
6


Sarabande

     
 
 



              
         
        

      
5

    
           
           
      
 

9

  
 

      
               
         

 


13

 


              
   
   
Menuet I
 



             
   
 
5

                  
       
9

     
        
     

 
13

        

             

17

 

         
   
   
   
21 Fine

 
                       
7

  
Menuet II

        
   

             
           

      
8

    

                  
      
13



                      
 

   
Menuet I da capo

  
19

  
                       
Gigue

     
 
 

                            
   
   
 
7

 13                                  
      


                            
   
 
19

                    
         
  
24

            
                     
       
29