a Bucs family several of thee "Notenbichsin" were in crculation, We Anow three af thems the "Rlaverblchli" for J: Bech (Gand 1720 in Roethen),« wcond soe without the fet five French Sots and eme sal wheter nme of {resent in this eprint, which follows the Caloey ed he notes are by Arnold Schering aod sl represent logical researchy which had enered only apety ice the fen smplre eon of Richard Batka of 1906. ‘The original copy (Preuniche Seatbiblcthak, Bern) must have been paper over « at wth preven fl ie, wo lacks ands rd sk bon. Om the cover AMB 1725 hich later wete supplemented by Philipp Emanuel to “Anos Magdal. Bach" Taster of the bookbinding craft in Leipaig had been ordered lly careful and beautiful job om it. And it must have been Johann ive the order, pousibly with the intention ta give the book to ie ‘iethday present. g, i " jowed since 1720, made her tequaintance here she was engaged as "Fureiche Singerin”. It must have been ‘hem -ogether, for Bach vas the conductor of the court music oethen, ldren between 1723 and 1742. She survived Bach by ten years, dying ‘in pitiful circumstances on February 27, 1760, as an "Almoven(cau” (woman der pendent on charity). From the litle we know sbout her ici safe to savume that she was en amiable woman and devoted wile, very serious in her domestic and family duties, participating at the seme time in her husband's work t0 the best of her abilities. According co Johann Sebesten, she nang s decent sopeano ("einen ‘concerts of the family. Many compositions of in her clear and faultless handweiting, and ‘There have been some misconceptions (caused parly by Philipp Spitea) shou: the part which Johann Sebastian played in respect to the “Notenbuchlein™ He had no influence on its final shape. After he had started it out by copying two of his plano-ites for it he let it to its fate. After that, he seems to have been fare af its existence only ocasonaly. Te can neither be proved thatthe book wat mente to contain fy hs own Componitions nor that he intended to improve ‘Bane Magdalens’s piano playing. Without any doubt ie was left to Anna Magda: ‘he accepted what she liked, and that Thee husband, but the ease, ‘master a wel Te fook a number of years probably more than five, fe fil the books Tn the meantime, the childeen grew up. They asked for prety Piece in the gallant ayle, for menvet, marches, polonaisen, which they could E he rales ofthe at of dance ‘acceptable standards, one had cs them not only dancing, but well Te us "ollect imple, suitable pleces foe such purposes, witha melody which ce by the fiddle of she dance master or by'a flute. To do ths was within Anna dulera's realm of dusie, a» Johann Sebaxian had more important things to te. iracious "Spielacke™ (play: Be, “composer, had pat in them. ey don venty in any respect Personal tate which, se from her upbringing snd career, had been formed by music of + differen tal dn es my ls cnt ee Sat Sea ees Soe ce pa os ly ee iin Tiere ee Stara een ts cn ee ered enc en cea ee Dinle eeeg calor eee SSE Saye aioe ca SELES ett eet ieee ee Soba Sia anne ee rene eee Sa oo ered Rela ianee eee Meee eran ieee eee oto fee ais ate ley mee pein ne eee te cee oc ter cies oor fs rs ee fea cra eter, sarees tices fo a i ees eee SiS amie crouse once aoe eee is a meme miner arte see quality in particular which makes the book so attractive. Johann Sebaxian contributed only lle to itsen ly fom hog of An Madan, he pea ni ne wim th og of fs Man an bE apd, ais EPPGTIR SOME one which some to have beer Philp ‘od Ei Snes ited ome ch en Pena ait ers ae sa Sener homey Serer een ee ee macs hata ese ot et Be a Sead Che Bie sn er BEaE) Sk Phe Mage Dae a siete nd con ref eligi ey eee og ghey (Our edition keeps as closely to the original as pouible, Wherever it was neces, the compositions have Been provided with « new thoroughbesreaisa- Sou, "No prised edition, of course, can truly substitute for the handwriten ‘Thich sceidene and planletsnen played such am important par. Many ‘ontemis can be revered im roto only by the ion. "Modern print and bookmaking prevent the inclusion of the encures of the personal handwritings, the various degrees of care. faincss the sigiticane traces of tnaxe and wear and the undefinable spiral tlemen in hn preceu ee,” Only te facta; atria enget on be given and tre Rave to Lec limits. In view of many mistakes fomiatons, corrections i al pieces wbich did not originate from Johar iiological teproducton i imposible. A correct fist of all errors Reula'fil's Zelume ie inelfy but thet would’ do too much honer to the careless Titers "The critical edtton ef the book which the Bach-Geacllachalt published in Yooe did not contain » lit of all mistakes, end we can do without ital the more (S eur edition in meant for praial ase, not for philological purpores. All notes Er Sil pent or eddions in paenthens are ftom the editor af the Callwey edition, ‘Aeneid Schering, Linguistic ervors lice fat iatend of faite (p. 96), March instead Of Marche (p60) of Poloneie iatead of Poloosize have been corrected. In Bach's oun Comporitons devetions have been preserved, About details see the following neten. 1-37, This is the third of the ix “Partita” which Bach collected in 1731 as the fest pert of the "Kiaweribung”, They hed been published separately ce 1726. ‘Tn Bach's own handovting. “This version ig not quite identical with ‘Be primed (later) ent. The printed edition includes a “Scherzo” before the end (snd calla the Prelude "Fantasia", the Menuet “Burlesca”, 18-41. ‘The sixth of the "Partas” (see above). In Bach's own hand- writing! Here, 00, deviations from the printed verion are noticeable, (epedaly Titer serstuade p- 30); nee of them, however, being eweentia, For obvious ‘uasone the Prelode in culled "Toceata™ in print. The "Notenbuchiein” doer not Eciode the "Aie™ and gives the Gigue alla breve, with dotted eighths, while the ner edition chooses full meanares with dotted quarternotes, 'P. 42.45. Three Minsets, Author unknown. (Handwriting of Anna Magdalena.) P. 46. Rondeau, This composition is by Francois Couperin and can be found inthe second, volume of hia "Pieces de Clavecin™ (about 1715) with the ading "Les Moconneurs” (The Harvesters). P. 50-54. Two groupe ef one minuet and one polonsise each. Author unkaswe: Hlanderiing Of Anna Magdalena. 55. Chorale: "Wer nor den lichen Got lisa walten”, Added to the side 4s handericen remark by Philipp Emanecl: "By J. S, Bach”. This composition [S iEcioded in Kieubeeger' cllecion of Bach's chorale forthe organ (eee vol. 40, . 4 nthe etion of the Bachgeellachatt)._ Ie might have been sung in Bach's uve on feive ocanons, to the accompaniment of the howe-orgen: P36. This wnfigured movement in bed on the melody to Paul Geshandés arch hymn “Gb dich sfscden ond aslo”. Te doce not give the tox howe fren lo she “Noten only the outer woes (copra tnd bam) have Fe writes ou encpt forthe fehata bar where the fll fe-oied chord Fim deeply. (See the next two paragraphs.) P57. "Gib dich suftieden und si wille” A handwritien remark by Philipp Emanuel, ne be considered ss « most reliable source, points 10 J. & Bach ‘the suthor of this composiion, which has been written down both times by Johann’ Sebestian himecf. The frm arrangement is in Gaminot and in aa ‘ocually high range, which must be explained by the low pitch of the clavichord in Bach's Gime, “The sccond, slightly different arvengement in E-minor was appar- rly meant for the harprchord or the heuse-organ. The text has been writen ‘Su by Bach forthe Geminor arrangement, but our edition gives the words with the Erninor version to make vocal execution to the accompaniment of modern spe pti sahil cate os mnths Ge Srna S Ses eer Stns eee Beco Ser ee Patty oan ne fea pen ee sana tice ee ea Be seal Ss oe orien ee mht ceahaietaemne Devin nea Sacra and ae ae mer ion bh token face lat Sie eS Presumably originated within the Sperontes-circle in Leipzig. (Sperontes was the tea tielsie sieges aes Sts Sy hea teen har sate eo mre Serie a ann netics Says SES Pee Rlgnelretr tara liner aaa orn is, AR Sr beta aad ne OP cae rhs get bn ean a Soe) doe seer Pl Mees Ch eae ey orien oe tet un hs Hb he Me rel aaa oe oer neti a, a ly eh oie su il, Ti aba ne area SLE77. Unie pian pice inthe character of « Sarabanos._ I i emia! yah se Asia Theme of he Variations rom the fourth pert of the "iduvieing™” (shows 174%; nd. of te Bach Goveachef vol 3) Rra6s)- Tt tennt,dovbelal thet Bach was the. compose; the modulations 2s ull av the ‘Sette point t's syle different from hax 79. "Sole per il combale”. Not by Bach Handing of Anos Mapdalens. P42. Polonsioe of unknown origin. Handwriting of Anna Magdalen. P. #4. ‘The Canajrpreude from the fiw part of the "Wellemmpered evil Hstvcog of Aan "The fe hal ofthe compeon Soa deren ihe the eet ennno, icy ‘ems on the following igh pegs, Cat out topather with some other gee ‘Kins Magsslenncootnued the copy on s new pegs owe omined five bars wich ive etpplomoned ia dis i P, 86-95. The fiw of the socalled French Suites (D-ninor). We fad i yi oc en handing i he oe "Noe fom 17. “dre beck to the Roathen period. Handwriting of Annu Magdalena miner ‘evades tn roger to nottion snd craaments P. 96-100, The frst movements of the scond French Suits (Cie) hh aes Reis Randa Cod th ais Neveu of copy ef our book was writen by Anau Magislens. The cod Sitsbende end the res lan movernens (Ady Minus, Gigs) ae log . 101. Rather clamey attempt of « single composition, corrected by scvunge hand. 102. Asia: “Warum betribat du dich”. The author of the tex is un- Ienown. The, orginal melody arly could. have been Buches he added ti eeerer, and poovaded ie ich his own bese, thor conveying of hs "zd Touch wo she componsion. (In « similar wey he Seated the meds of ‘Goangboch of Scheme >. 103 108. Recative “Ich habe genug” and Aries “Schlummert ci ihe saacten Augen”. Beth paces are known spars of the Casta "Ich habe S68” (Grobatly 1931 oc 1730; of the Bach-Genellchaf vl. 20,36). There they ae [Fito third lover (che Ara in E Fiat major) and ave tobe mang by 0 bse soi Basten Bowevr, Bach left soprano vervon of ths Cantata (complete: Tio ar Bech Genlochals, wl 20 prefce pe XIV), The copy ia out “Noten isa" emcoeiing of Anne Maguslens) "seems to be the erie terion: The amate of the Concsta i socompanied by seang-querts, while our toprne-t feqires only the scrompentment of the avichord or ithe "Nore SSIS Mowe june the melody with the bare wofigured Bom. Our reazaton of the basis adapesd to the ule ofthe keyboard inrament; the complicated ering See crore il Bch th the Conan ead bw ‘This aria has been wricten down twice: the first time only the vocal part, without taking care ofthe Sus-ystem (p. 105), the second dane with the bust Par, at without the ending. Both copies are separated from each ther. In both Tnmances the writer mast have been called sway from her work, without having found the tse fins Ihave been cut between p. 111 aed p. 114, which ‘te some further diatucbance at the time of these writings, Both versions vena instrumental prelude and vary, besides in regard tothe length of te inter inden. Our edition supplements everything mining excopt forthe prelude, according 110, Chorale: "SchafPemit it, Go, The ten by Benin Schmle es nett the a having bes pane without cody fhe “Deedee TGS) Te clap the ely oinwm Bach id sly te figuring of the bess. Handwriting of Anna Magdalena. 112, Aa di Gren "Wilt du din Here mis schenken™ The vig fs fat ety ls matey of pte al nip nde ewe SPE Rach eesti br, He we the hat of inating sso ‘yt aiuiy We ao ane tej he ype ther vend (tay pael “avin” inthe "Novenbchicn’) "ands forthe pet meme Sim ncn ne oa ay mba rt nettle the Po. tuand ape ic Bah jedi pbc and inh foal ‘The mune refers whee ty doubt the Kein compoter Giovanni whe ted a Gemany fre umber of yet and acena to hn fad perfect hie oF GaGirtangnge Hie coven Gorman tgs, pblied "athe Sided io pr ot he ition eden Joram Frcch Gre {5 thew he oe nyo degen inn tat Caractere out Lave Sot i782 SNowabuthide' Covent wa am adherent of "Ancirvonai” i on Talon place fd he fe ema fn the wl party ch, peat he TOSSA te flan Comoe nes Wi dln Hire i ie’ erect spas ‘lve she tnge in harm and ney of aro, Saran Te say omnes wf hone lene seeing Go cng + singly tomer marerpoee VAbout ihe erga of te testking is known. Phiipp Spin, howe rinad esi fatne peor eet er conte. (Verlhrach fa Recital ine, 2G aad 30). Tear on mane elle Kederiinp tet clr ow Te wing ft tx thaw ack of epee ‘Rice eos ed ete toa. few pepe oul id ot ong co ati ad hou the ltinsip othe cap tot cronmene rena Frolic (Sr ie "Revomenc” In tle" af the BachGecicat Eon pit) Pd, “Din di, Jury vill ich sng”, In Seni Bath, Te at iy ert Candice (724, Bas shh Tape omit ah hu a, it, pes gin pce fo eC et yan Bes Tarrant a? Sk nageen pace hs angen forte "Gennghoc™ ot Soni PHP, "We wot i rnd dee Salen”. The pe by Wallen Che Dele (GI) WE do ue Know eh outer of the ays Bach oot Pisce dt elit hare peed the “Nach dr Tart” (ig ot sete te be ang the same nes atthe." fngeeimen Freer” (lent Joyo fase he wed ec av epened fut ba wou oy erent er fate campeon of pcteaite teury evethen”Buso! pod irege tit ni sted rin wna: Hendertng of Anne Maples >, 19. Acar "Gade deck men Get ‘The nuthor of the tet it a now i tc fied to stibte thn Beulah tng Johann Sebastian Bach. 1 Blt Cul: "ih du Dncewe” The i by Jb, Ri the melody by Job Stop (18a). We and Peipy Emanuel Bey oragenent Te ea hte of tthe ourpart heer CHE pane atts th daly td npr bing the nme bh ces Haden ot ene Magno Johan ore heating.