Notebook for Anna Magdalena Bach

Notebook for Anna Magdalena Bach are two music books from 1722 and 1725, who compiled Johann Sebastian Bach and his wife Anna Magdalena.

The note books are kept in the Berlin State Library. Also for his son Wilhelm Friedemann Bach has written a piano book.

• 2.1 works

The Gradebook from 1722

The first music book from 1722 is preserved only in fragments. Reported are 25 pages with 48 pages of music described, the loose at the time of the first scientific description of the book by Paul Graf Waldersee in Volume XLIII of Altenbach edition (1894 ) were in the original cover. A copy that comes from the radius Carl Philipp Emanuel Bach and " created about in the eighties of the 18th century " is, in no particular sequence contains only pieces from the collection now known, and this almost completely, but waiving the us fragmentary surviving pieces. This suggests that even at this time the now lost parts of the Gradebook available were no more and the existing loose in the cover was. The thickness of the resulting book cover indicates about 45 to 50 lost leaves. The Gradebook would thus originally about the circumference of the second of 1725 had.

The first note book from 1722 does not seem already to have been highly appreciated by Anna Magdalena and Johann Sebastian Bach himself. The vast majority assume the earliest surviving versions of the first five French Suites, mostly in an obvious concept transcript. These two short and unfinished sentences that Bach used the Notebook for composing and sketching. Almost the entire stock obtained is written of him.

The Bach research has been interested for the first Gradebook little. It is generally considered only as a source for the oldest version of the French Suites. The Old Bach edition, the French Suites printed anyway in Volume XIII and XLV / 1 predominantly in early versions, therefore it is not published as a whole, but was not limited to the few pieces belonging to the suites. These have been published also scattered in other contexts; to unvollendeteten Fantasia per Organo put Hermann Keller submit a final. The only complete edition of the Gradebook from 1722 has remained that of the New Bach Edition.

Works

All pieces except and autographs of Johann Sebastian Bach. The numbering follows the New Bach Edition.

• - French Suites I- V ( BWV 812-816 ), the earliest extant version. Through leaf loss partially fragmentary. The minuets of the Second Suite in C minor ( BWV 813 ) and the III. B Minor ( BWV 814) are grudge later in the Gradebook; and cf. Between the Air and the Gique [sic ] of the C minor Suite there is an insertion note that refers to.
• Fantasia per organo ( BWV 573). Unfinished, the sketchy transcript breaks off before the end of the page.
• Air with Variations in C minor ( BWV 991 ) for keyboard instrument. Unfinished. The bass of the Air is incomplete; followed by a full and a partial variation in which the system for the left hand is empty.
• Chorale "Jesu, my trust" ( BWV 728 ). Fair copy of Johann Sebastian Bach.
• , The minuets to II and III. French Suite (see - ). probably written by Anna Magdalena Bach, Johann Sebastian concept handwriting.
• Menuet ( BWV 841 ). Probably written by Anna Magdalena Bach. This minuet is also found in the piano book for Wilhelm Friedemann Bach.

The Gradebook from 1725

The format of the book is large cross- quart; the leaves are cut by gold, adorned with the green paper -covered cover with gold print. The outside of the front cover carries the pressed with gold characters:

On the inside, the following words of his former owner CF Zelter:

Carl Philipp Emanuel Bach, from whose possession passed the book to Zelter has numbered the pages of the music part 1-121. The last three pages of the book contain text and are not numbered.

Works

Numbering of the pieces after the New Bach Edition. The composers are unknown writer is Anna Magdalena Bach, if nothing else mentioned. Instrumental pieces for harpsichord, arias for voice and basso continuo. Original title in italic, italic text citations and quotation marks, added titles straight.

• (1 ) - (2 ) Early versions of the Partitas of Johann Sebastian Bach: III A Minor ( BWV 827 ) and VI in E minor ( BWV 830)
• Menuet in F major ( BWV Anh 113)
• - Menuet in G major, Menuet in G minor ( BWV Anh 114, 115). The best-known pieces from the Notebook, which are used in countless instrumental methods and stitching with sheet music for virtually every instrument; usually under the name of Johann Sebastian Bach. 1979 Hans-Joachim Schulze pointed out that the two pieces are taken as Menuet Menuet 1 and 2 of a harpsichord suite by Christian Petzold.
• Rondeau in B flat major ( BWV Anh 183). Les Bergeries. Rondeau from the VI. Ordre of Pièces de clavecin by François Couperin.
• - Menuet in G major, Polonoise ( Polonaise ) F Major ( in two versions consecutively written ), Menuet in B flat major, Poloneise (sic) G minor ( BWV Anh 116-119 )
• Choral by J. S. Bach ("Who leaves only the love God prevail " BWV 691 ). Copy after Bach's autograph of the chorale in Clavierbüchlein before Wilhelm Friedemann Bach.
• - Choral and Aria " Be content and be silent" ( BWV 510-512 ). The lyrics were written by Paul Gerhardt. The wordless melody of the music book ( = BWV 510 ) appears in different rhythmic form with Gerhardt's poem in Harmonious Liederschatz, or general Protestant chorale book by Johann Balthasar King in 1738, so not from the anonymous writer in the Notebook. George of Dadelsen indicates the somewhat clumsy basso set of Tonsatzübung as a very young family member. Has evidently stimulated by Johann Sebastian Bach on the text of a Gerhardt Aria in G Minor composed ( [ 13 ] = BWV 511), which he then, as it turned out for the singer Anna Magdalena Bach is too high, according to some variants e minor hinuntertransponierte ( [13b ] = BWV 512).
• - Menuet in A minor, Menuet in C minor ( BWV Anh 120, 121)
• - Four pieces of Carl Philipp Emanuel Bach: March ( Marche di ) D Major, Polonoise G minor, March in G major, Polonoise G minor ( BWV Anh 121-124 ). is the Polonoise 1 from a Sonata per il Cembalo solo by Carl Philipp Emanuel Bach. The source for this sonata has been lost in World War II, today it is only through a copy of Rudolf Steglich known - obviously incomplete, a " Polonoise 2 " is not included. All four pieces are written in youth manuscript by Carl Philipp Emanuel Bach; since they are related to each other by " volti " notices (reversing notes), CPE is Bach accepted as a composer of all four sets.
• Aria " Whenever I think Tobackspfeife " ( BWV 515, 515a ). The text was widely distributed in leaflets, it is added with all the verses of the Notebook on a separate sheet by an unknown writer [= 20c ]. [ 20a ] in D Minor ( BWV 515 = ) comes from an unknown hand. According Dadelsen it is the same as. Dadelsen suspected of handwriting comparisons, the childlike handwriting of Gottfried Heinrich Bach. [ 20b ] ( BWV 515a = ) brings the same melody that Anna Magdalena Bach transposed up a quart into G minor to reflect the range of her voice. The artfully redesigned bass comes from the hand of Johann Sebastian.
• Menuet fait par Mons. Böhm G Major ( BWV without ), written by Johann Sebastian Bach. Several musicians with surname Boehm come into question. The gallant - modern style of the piece and the very simple invoice seem to speak as a composer against the highly esteemed by Bach, Georg Böhm.
• - Musette in D major, Marche E Flat Major, Polonaise in D minor ( BWV Anh 126-128 ) (?). The Musette is next to the most famous pieces of the note booklet.
• Aria "Are you with me " ( BWV 508) by Gottfried Heinrich Stolzel
• (26 ) Aria for harpsichord by Johann Sebastian Bach, which he for the Goldberg Variations BWV 988 used later.
• (27 ) Solo per il Cembalo in E flat major by Carl Philipp Emanuel Bach ( BWV Anh 129). In a revised form of the first movement of the Sonata Wq. 65/7.
• Polonaise in D major ( BWV Anh 130) from a piano sonata by Johann Adolph Hasse
• (29 ) Prelude in C Major by Johann Sebastian Bach from the Well-Tempered Clavier I ( BWV 846 )
• (30 ) - ( 31) Two French Suites by Johann Sebastian Bach: I d minor ( BWV 812 ), II C minor ( BWV 813, fragmentary )

• Pieces F Major ( BWV Anh 131). After Dadelsen same writer as [ 20a ]. The very simple composition is written awkwardly, with many, partly unclear corrections, which seems to be interpreted as composer on a very young family member. Except Gottfried Heinrich Bach, Johann Christian Bach came into question.
• Aria ( " Why are you cast down ," BWV 516) by Johann Sebastian Bach? Author unknown.
• And Recit [ Ativo ] ( "I have enough " ) and Aria ( " Slumber one, her weary eyes "). From Bach's cantata "I have enough " ( BWV 82), transposed from C minor to E minor, and with the bass in the treble clef simultaneous voice to match the pieces Anna Magdalena's vocal range. brings the recitative completely, of the aria, however, only the singing voice without instrumental accompaniment. sets again with the aria, but without foreplay and string parts. The basso breaks clock 28 ( at the end of the second page), the voice of ten measures before the end (at the end of the fourth side ) from. The librettist of the cantata is unknown; the text goes on Luc. 2, 25 ff back.
• Aria " Schaff in me God " ( BWV 514) by Johann Sebastian Bach? Text by Benjamin Schmolck. In the first eight bars all the notes of the song and bass are provided with tone letters. Obviously a young family member were taught first grade knowledge using this piece.
• Menuet in D minor ( BWV Anh 132)
• Aria di Giovannini ( "Will you give me your heart " BWV 518). Unknown, otherwise in Notenbüchlein unrepresented writers. Carl Friedrich Zelter suspected on the Notenbüchlein enclosed note: " Giovannini could Joh.S. Bach italisierter Shepherd Name Being [" Giovanni " Italian = "John" ] made ​​and the poem as the composition of his own, fall into the second period of his engagement to Anna Magdalena, who is quite well have sung. The transcript, which is girlish enough, could be from the hand of my sweetheart '. " Zelter speculation has been rezipiert much especially in popular literature. However, it is rejected by the Bach research since the late 19th century as out of the question: the handwriting is clearly not of Anna Magdalena, and a " shepherd name " Bach, Bach's ever a relationship to pastorals is not otherwise known. Philipp Spitta has instead to the composer Giovannini ( first name unknown) pointed out, had ( 1743 1741 ) published some pieces in the 3rd and 4th part of Johann Friedrich Gräfe Odensammlung. Also, this assignment is, however, doubted; the intricate melodies and supple and imaginative bass of the Aria di Giovannini suggest a composer of much larger size than close it by Giovannini few known compositions is witnessed.
• See
• Choral and Aria ( " You, you, LORD, I will sing " BWV 299, 452 ) by Johann Sebastian Bach, text by Bartholomew Crasselius. The minutes of the four-part chorale comes from Johann Sebastian ( [ 39a ] = BWV 299 ). Anna Magdalena wrote the same piece in the connection as Aria (only treble and bass) in order to accommodate all the text in the verses now generous sized gap between the systems can. In this form, but slightly reworked Bach took it later in the " Schemelli Songbook " on ( [ 39b ] = BWV 452). - Despite the original name chorale melody with its range of a ninth, their complicated Hemiolenrhythmik and their ornaments is not suitable for congregational singing song. Rather, the sentence "Come Come, Jesus, " which designated as Aria final movement of the motet seems ( BWV 229 ) is similar, to turn to more experienced singers.
• Aria "How well is me, O Friend of souls" ( BWV 517). Text by Wolfgang Christoph Dessler, handed down in several contemporary hymnals. Composer unknown.
• Aria " Remember now, my mind zurücke " ( BWV 509). Lyricist and composer unknown.
• Choral " O Ewigkeit, du thunder word" ( BWV 513). Text by Johann Rist, melody by Johann and Johann Schop Crüger, basso continuo by Johann Sebastian Bach. From Anna Magdalena written two -part excerpt ( upper voice and basso continuo ) from the four part chorus, BWV 397