of 74 /74

Bach - Sonaten Und Partiten Barenreiter

Embed Size (px)

Text of Bach - Sonaten Und Partiten Barenreiter

BARENREITER URTEXTBdrenreiter Urtext ist ein Qualitdtssiegel frir wissenschaftlich-kritische Ausgaben.Es garantiert Notentexte auf dem aktuelien stand der Forschung,ediert nach klar formulierten Editionsrichtlinien.Bdrenreiter Urtext: der Begriff ftir authentische Textgestalt der Werke.t)BARENREITER URTEXTBdrenreiter Urtext is a seal of quality assigned only to scholarly-critical editions.It guarantees that the musical text represents the current state of research,prepared in accordance with clearly defined editorial guidelines.Bdrenreiter Urtext: the last word in authentic text - the musicians' choice.BA 5116Bach, Drei Sonaten und drei Partiten ftir Violine soloThree Sonatas and three Partitas for Solo Violin!SMN 979OOO646489OW[Bdrenreiter-Verlag' Kassel' www.baerenreiter.com9 1 1 S V aO 1 0 d o I I Q t t M N o L E O p u O I s o a I S S O l x l I I u 8u o F l p g r { ) e g 1 v \ a N a q } J o } x a u na q e 8 s n y - q r e f l u a n a N r a p l x a u l l ld o f l o m r a ] a dd q u o q r p g p a s l ^ a 5 / u o t t a q e 8 s n y a u a r p n a 5p l e 1 v \ s n e H r a l u n Dd q p " l l p A / u o t t u a q a 8 a 8 s n e r a H9 0 0 1 - 1 0 0 1 M aW I O I O I O S O JS O l t t O d a n p p t r o s o l o L I I O s O I O S W I O I z t t u l O d I I p p l l n u a l o L I I O s I INHALT / CONTENTSVorwort IIIZur Edition vIIPreface ... VIIIEditorial Note . xIISonata I (g-Moll / G minor), BWV 1001Partita I (h-Moll / B minor), BWV 1002Sonata II (a-Moll / A minor), BWV 1003Partita II (d-Moll / D minor ), BWV 1004Sonata III (C-Dur / C major), BWV 1005Partita III (E-Dur / E major), BWV 10067818284052Urtextausgabe aus'. lohann Sebastian Bach, Neue Ausgabe siimtlicher Werke, herausgegeben vomfohann-Sebastian-Bach-Institut G6ttingen und vom Bach-Archiv Leipzig, Serie VI, Band 1: Werke fiir Violine (BA5012),vorgelegt von Gi.inter HauGwald und Rudolf Gerber.Urtext Edition taken from: lohann Sebastian Bach, Neue Ausgabe siimtlicher Werke, isstted by thelohann-sebastian-Bach-Instifuf Gottingen and the Bach-Archio Leipzrg, Series VI, Volume 1: Werke fiir Violine (BA5012),edited by Giinter HauGwald and Rudolf Gerber.O 1958, 2007 by Bdrenreiter-Verlag Karl Votterle GmbH & Co. KG, Kassel22. Auflage / 22nd Printing 2010Alle Rechte vorbehalten / All rights reserved / Printed in GermanyVervielfliltigungen jeglicher Art sind gesetzlich verboten.Any unauthorized reproduction is prohibited by law.ISMN 979-0- 006-46489 -0I I I' l r l J r q a 8 I a I d S s u l I a p u a s l d S r o a g u u e q o f s r a ] s l a u r- u a z u o ) J a u p s a r c s a p a r u B N J a p a p J n M q J l l l u a p a r q f , s- r a n ' r a 8 e r l s 8 u n u r p r l , 4 r a p o r a q a S S e J r y n v u a q r q S o r uu a u r a J a q n a r , t \ l u u o l a q S r u a r t o s u a q a l s r s s e l u v u a l- a D l u o > l u a u r a r a c y l ' l l l a l s a S S r l r a l 0 2 i l r q e { r u r S u n r a q- e C u a p u a p u r J n z U I J t p s u I a U u a q d e r S o l n J a p a l l a s l a l- I J J a p J n J a p s r a , 4 \ s n v q J E u a p r n M s n 1 1 r ( 7 s q l e g' u a q a q r a n z l s u n ) u a r { o q J a p q J l a r a g u a p u Iu o r l r s o d u o ; t r u o ^ l r v a s a r p l l u e p p u n u a p u r q t a ^ n zs a z l e s u a u r a l s a p u l a 8 a y u a p l 1 u a u I T o r A u a l a 1 r a 1 3 a q- u n r a u r a ; n e l a r d g a 8 r r u u r q s r q a u r s e p ' q e ; n e r e p a u a fa r m a r s u a l a r z q J o p ' J n e u a > l J a M s q ) e g l n u u a B u n p- u l q r a n u r n e > l J ^ r z l L { ) I S u r H J a r { J S I l s I I l s u I u a s r a . r y \s J J o q l s a M u a l l n s a I C ' u a s s e l u a 8 1 o y u a l l n s s q J a s l r u r3 u n z 1 a s 1 r o 4 - a u a + l I g a u a r e l d u r a x g I a M Z u I u n { r a u r- u r r - a u r a 9 6 9 l p u n l l l r l l l u a J J Q r a , r , , u a 1 , { e 5 ' v u ' , ' zl n u J a r u E I t r a l s a n a u a r p J n e o n u l l u o J o s s e d J a p u o so l o s o u q o r 1 u a n b r S T u a p u p q e J e s ' u a l u e J n o 3 ' u a p- u e u a l l v p u a z l n c l s a l s r g " I a I I J t u a p l l t u u a l l n s u o ^S u n l u r u r e g - a u a l l o q r s J a ^ a l n a r l - a u l a S e p a r q s q l a gr u l z g g l s l r a r a q a l l q J J o r { l s a M ' J P J l u a r u u r P s n z u l r { rl r t u s s r . t r a 8 ( g O Z f ) 8 u n 1 1 a l s u y u a 8 r p o p u a l s r a r a u r a sp u a l { p m q r e g a 8 u n f J a p o m ' 3 l l g l J o H J a r r u l a M u r eJ a > l r s n I A I p u n J e l a J ) a s r a u r u r e ) q e p o f u r a u r a s n z s l q6 6 9 I u o ^ r e m p u n a 1 1 a d e r y o g r a u p s a r 6 r a p p a q S l q r qs V L 6 g l q q t D I u o ^ a l > l r l . M r a 8 r a 3 a q J s l n a p l a l l l r ua p u a l n a p a q r a s a r c ' J J o r l l s a M u o ^ I n d u u e q o { u o , tu a l r n s o l o s a l p u a q r { q ) e g r 4 J p l l q r o 1 s a q r q 8 o u q eS u n l n a p a g a l a p u o s a g ' u a l e m r y d g q r s a 8 s n e p u J a q e u- u e I e u r u r a ] r { J I u q ) o u } r a z J a u r a s u a l r a l q r r l S o l I u a s s a pp u n u a i l r { } a p u n I J a u a l s r u o d r u o ; t r a 8 r u a r t J n u u n { IJ o s p ' r u n r p a r u 8 u l ) u l a u e q J e g q r r s a 1 3 e m l u a t u- n r l s u r o l o s s a l a 1 r a 1 3 a q u n u r a J n J u a l J a M u a u r a s + I t r l. s n 1 1 d 7 u a p l- u a u r n u o u r u a l u e s a 8 s a p S u n r a t s l J a l > l e r e q 3 a p u a J J a r la u r a l r u r e p l s r , , a r J a l e t r l a l p J a q n s a l s l a D s a p q d u m r l "r u o ^ l r o M s a u a S o z a q e l q J d u a l I a M Z J a p a r r u o J r { Ja r p J n E s e p r d g d d m q a ' u a 8 a r * a q n z u a l l a ) u a l S a p a- J n e l s q l a s u a p u I l r a r p a r { J l s p u n l I a q I a J C u a l g o r 8 r a pl n u r { J r s ' l u u a > l J a u a l s r u o d r u o ) s a p u a S o u r a l r u a p u Il t r p s J a l s r a l a p u a p u l J n z I I o s - u I T o I n u a p u I a l p J a p' l p J q J r a 1 r { J r r p a I J C u u e q o { u o . , r 8 u n > p a w a g a u l a I I a I Z8 u n 1 q r r y a s a r p u I ' u a J a I s I I E a J n z a r { J r J l s q v a q J I D I J a r ua u q o a q c e r d $ l r s n l N J a u l a s r u n l q J l a 5 u a u o q d d l o d p u nu a r { J s r u o u r J e q u a z u e 8 u a p l a r d g u r a 8 n u r u r l s r q a r u p u nr u a r { r s r p J o > I i e n z u a 1 r a 1 g r q 3 o 6 u a l z u a r 8 a q J n u l l r u] u a u r n J l s u r a p o l a h t r u r a u l a ; n e ' u r r e p p u e l s a q ' a 1 1 a 1 s' u a g r r 8 a S ; n e z l I I q J o U L { ) r r p a r r g p u n I a I r o C s n e l o l l N u u e q o f u o , ra s l o g r a p u r a p r n ^ ' a 1 : n s r a 8 r a q u f i r X K , , r , r # r r l . # ; ; : J # o r 4' 0 0 g L - 0 9 1 L s q ) o g ' S ' l u a q n m 4 t a l t l u n z a r y a w n p ( f ' a z 1 n q r 5 { - gr { ) e u U a q r z ! t r l l l a p ] u l ' l a > l r o { s n e l o l t l l u u e q o f u e J a r l g II a u I t r u a q r 1 1 3 u e 1 1 r a p S u n r a r z n p a 1 u a q r l l S o r u l g o r 8r a s a r p r a q q J r s q ) e g J a p ' 1 r a > l S u a r r v r q J s a q J I I u r { o M- a 8 r a g n e a r q 2 , , ' I l a J u o l o l n s e p J n J 9 p u n U I o I A a l pr n J u a l p u o s 9 ' l u a u r a u 8 e d t u o r r y s a 8 r u r a a u q o ' q l e g' g ' f u o , , r u e u r l e q i l V J a s a r p u I ' a p J n . 4 \ u r { a s 1 > p r q x- a 8 u n p u n r e q 8 u r s u n + s q J o q a u r u q s a 1 8 n ; a 8 n z u l qa r p s s e p ' u a u q l a r n z l p u r u r a l q r p : u a 8 n ; n z f , a q J a l q a Ca r r r q o a r u r u q s a r 4 a " { a s q r 1 1 3 o r u l q f , l u s a g e p ' u a q t a r q r sn z r { ) s r u o u r J p r { o s 8 u e s a 3 u a q ) e J u r a u a u r a ' 3 u n 1 t a 1 3 a ga l s 8 u r r a 8 a r p a u q o ' s a l s r r a r a a m q ) s L I J o N " : u a q r a . r d sn z l u a u r n 4 s u r a r p o l a t r { s a l a 1 r a 1 8 a q u n u l a J n J a > l J a M J n Eq r n e 3 4 q r r r a 3 1 o y u a 8 n g u a 8 l u r u r l s r a m z p u n - I a J p u o nS u n r a l n e l r g r a p q r e u r a 8 r a q u r r ; l l u l u o > l f i Z Z l r y s n WD p u t s a z l a s , u a w a t s a p $ u n y a t Q S u n l p u e q q y r a u- l a s I I a J u a l s J a r u l ' a u u o > l u a l l a l s J e p r y a 1 , 4 u a 8 r u u r q s- S u r r a 8 u r a u r a u l l l l n q J a ^ u n a l s J a p ' l l u n d e r l u o ) p u na r u o u r r e H u o ^ a s s r u u r l a q a D u a l > I I J l u I a l p q J T P I J I Ma q J s J r a q a q J a p J n u 1 s u a s s e 1 3 a 1 , 4 s a p l s u n ) J a p u I s a z- 1 e g u a u o g d . , { 1 o d s a p a l n q ) S a q o q a r p p u e } s a q u q l r r - I CJ o ^ J a q a { J a M r a p S u n l s t a - I a r { J s l u r { J a l s u o q r s o d r u o la l p q o r { u a 8 a 8 u r q r a 8 r a q u . r r ; q d d n q a u u e q o { r a l n q r s- q J e g r a 6 r , , ' i l e f l a u r { o I I o s u I I o r A a l u u e u a 8 u a q o s 1 e' a l u u g l u a r { l e J u e u a 8 r r a r 8 a q r q a 1 u a p s a J a g a q s } r { J l u ' na p e q u a r { a s a 8 ' u a p r a r u r n z r a 8 t a g r a l n 8 u r a t u n ' s a l a u L u- r u o { l l o ^ s l r { J l u J a S E p ' I r { E t u u l a r r t u a 1 3 e s r a 8 t a S u a l- g o r 8 . r a p r a u r f l ' S E g a u q o I I a J u o l o I A s e p J n J p u n a u r- o I A a l p t W l t o s a u r a s u a 8 n a z s a r q ' u a u r t u o > l l l o l a l u a u r- n r l s u r u a 8 r a D r a l l e u a 1 r a 1 q r q 8 o h t r a l p p u e l s r a , t [ q t e g' S ' [ ] r g " : a J a l l l n s a l I e l J a l e u u a l p n l S s a 8 q r e 8 l z r n a s l el J a M J q r s n P r o l v \ ' a l u a r u n r l s u r q J l a J l s r a p S u n l p u e q a gu a q J s r l e u o r p l r a p u r s J a l E A s a u r a s a s s l r 4 u u a ) u a p u n J- o r d r a p l u a l . u n > l o c l u l a a l u r - I r a l s J a u I a > I r a M a l p u a l a p- I I q q r e g l a n u e w A d d U U a l r e ) r n C ' a p r n m u a q a l l { r s- a q q J r l p a n { ) s r a } u n S u n l n a p a g a q J s l r a l l s u 1 l { a J q lq r r a l S u u a r n t ' 1 u u e > p a p a p u n q r q e f ' 8 I t 4 s l r a r a q a p J n mu a u o q r s o d u o ) r a p a l l a u o q d a z x g s e q ' u a q e q l f l n q a 8- u r a l p l r e n l > l v J a J W u o l s l t l f , r u S a . t r u t q u a 1 z a l p J a q na r p ' a q g l s g e t r l a n a u a ) J a M a r p u a l z l a s I q J I S U I H J a q J s I u- q J a l s u o r l l s o d u o l u I r { J n e q e l a r d s u I l { o r l t o s ' J P p> l r s m u r n l o r 1 u a r l J s l p u e l p u a q p r a p l l u n d l a ; d r 3 u a u r ar e q l a J r a l ! \ z a q u n l l l a l s o l o s a u q o l ^ J n J u a + r u e d p u nu a l e u o s r a r p a [ u o , t s n 1 1 , { 7 s q ) e g u e q s e q a g u u e q o { u O M L u O Ader mit Bach seit 1710 personlich bekannt war; ob dieWerke jedoch ftir ihn bestimmt waren, ja ob er riber-haupt von ihnen wusste, entzieht sich unserer Kennt-nis. Bemerkenswert ist die Kennzeichnung des Auto-graphs der Violin-Soli als ,,Llbto Primo", die auf denPlan einer Serie 2ihnlicher Instrumentalzyklen deutet'Als ,,Libro Secondo" diirfen die sechs Suiten ftir Vio-loncello BWV 1007-1012 gelten, und moglicherweisebildet die einzeln stehende Partita fiir Flote BWV 1013das Bruchsttick eines vermutlich nicht weiter reali-sierten ,,Libro Terzo". Die erkennbare Einordnung desZyklus in einen groGeren Schaffensplan schlie8t dieZueignung an einen konkreten Spieler keineswegsaus, relativiert aber die Bedeutung dieser Frage.Ebenfalls unbekannt ist, ob einzelne oder sdmtlicheWerke des Zyklus eine ldnger zuriickreichende Vorge-schichte haben und ob damit die originale Jahreszahl7720lediglich den Zeitpunkt markiert, zu dem Bachdie Werke in einer autographen Reinschrift zusam-menfasste. Verschiedentlich ist aufgrund von bestimm-ten Notationseigentrimlichkeiten in einer der frihenAbschriften (s. u. Quelle C) die einstige Existenz einesAutographs aus der frihen Weimarer Zeit (vor 1774)vermutet worden.3 Einer ndheren Prtifung hiilt dieseBehauptung jedoch nicht stand, und es erscheint sehrfraglich, ob tiberhaupt eine der erhaltenen Abschrif-ten ein vor das Autograph zurickreichendes friiheresWerkstadium reprdsentiert. Auch aus musikalischerSicht ist eine wesentlich vor 1720 angesetzte Entste-hung der Werke wenig wahrscheinlich. Die Violin-technik erscheint im Vergleich mit sicher oder vermut-lich in der Weimarer Zelt entstandenen Werken (da-runter die Fuge g-Moll BWV 1026 oder die Sonatee-Moll BWV 1023, aber auch der ftinfte Satz det 171'5komponierten Adventskantate ,,Bereitet die Wege, be-reitet die Bahn" BWV 132) deutlich reifer und ldsst3 Vgl. hierzu etwa Clemens Fanselau, Mehrstimmigkeit in l' S'Bachs Werken fiir Melodieinstrumente ohne Begleitung, Sinzig 2000(Berliner Studien zur Musikwissenschaft, Bd- 22), S. 319-320; ahn-liche Uberlegungen finden sich bereits im Kritischen Bericht zuNBA VIl1, 5.22. Di"se Ansicht beruht im wesentlichen auf demUmstand, dass der Schreiber zur Aufltisung eines erhohten Tonsstatt des heute iiblichen Zeichens (d das altertiimliche b molle (ll)verwendet - eine Notierungskonvention, die Bach bereits um 1715aufgab. Zu bedenken ist iedoch, dass eine strikte Befolgung derNot-ationskonventionen des Komponisten, speziell in der Handha-bung von Akzidenzien, wohl nur von einem Kopisten zu erwar-ten ist, der in Bachs Auftrag arbeitete (und moglicherweise detail-lierte Anweisungen erhalten hatte); wurde eine Abschrift aber voneinem Musiker ium eigenen Gebrauch angefertigt, so ist anzuneh-men, dass er in diesem Fall den eigenen Gepflogenheiten folgte'Die Lesarten in Quelle C entsprechen - entgegen der in NBA VIl1,S. 34, getiuBerten Ansicht - weitgehend dem Notentext des erhal-tenen -Autographs (Quelle A), so dass eine direkte oder indirekteAbhiingigkeit sehr wahrscheinlich ist.IVsich eher mit den Violinpartien im ersten und viertenBrandenburgischen Konzert BWV 1049 sowie imSchlusssatz der Kantate ,,Der Himmel dacht auf An-halts Ruhm und Gli.ick" BWV 66a (Dezember 7718;erhalten als Eingangschor der Leipziger Osterkantate,,Erfreut euch, ihr Herzerr" BWV 66) vergleichen.Ebenso wird man die gro8ziigigen Proportionen derSdtze und die tiberlegene Beherrschung der Form ehermit der Kdthener als der Weimarer Periode in Verbin-dung bringen.Ob Bach seine Werke selbst auf der Violine spielte,ist ungewiss. Es liegen jedoch auffallend viele Belegeftir eine fakultative Darbietung auf Tasteninstrumen-ten vor. Am aussagekriiftigsten ist eine Mitteilung desBach-schi.ilers fohann Friedrich Agricola:,,Ihr Verfas-ser spielte sie selbst oft auf dem Clavichorde, undfiigte von Harmonie so viel dazubey, als er ftir nothigbefand. Er erkannte auch hierinn die Nothwendigkeiteiner klingenden Harmonie, die er bey jener Compo-sition nicht volliger erreichen konnte."a Und bereits1758 hatte jacob Adlung die Stticke in einem knappenUberblick iiber Bachs Klavierwerke genannt, mit demZusatz,,Es sind eigentlich violini soli senza basso,3 Sonaten, und 3 Partien, lassen sich aber auf demClavier sehr wohl spielen."s Wie man sich dies vor-zustellen hat, zeigen die Klavierbearbeitungen der So-nate B\AIV 1003 (tsWV 964) und des ersten Satzes derSonate BWV 1005 (BVW 968), die in einer Handschriftaus dem Besitz von Bachs Schwiegersohn johannChristoph Altnickol tiberliefert sind. In Transkriptio-nen ftir Orgel bzw. Laute liegt auch die Fuge der So-nate BWV 1001 vor (vgl. BWV 539/2 und BWV 1000).Zu fragen ist schlie8lich, ob |ohann MatthesonsKenntnis der Fugenthemen der Sonaten in a-Moll undC-Dur6 auf Bachs Aufenthalt in Hamburg im Novem-ber 7720 zuriickgeht und ob diese Werke moglicher-weise zu dem von ihm dort anliisslich seines Probe-spiels auf der Orgel der |acobikirche dargebotenenRepertoires gehort haben kcinnten.Doch auch in ihrer originalen Form erfreuten sichdie Violin-Soli im 18. jahrhundert einer erstaunlichweiten Verbreitung. Dies zeigen die zahlreichen erhal-tenen Quellen, von denen die wichtigsten hier k uPPund unter Beriicksichtigung der seit dem Erscheinendes Kritischen Berichts zu NBA VI/1 gewonnenenNeuerkenntnisse kommentiert seien:4 Zittert nach Dok III, Nr. 808.5 Zitiert nach Dok III, Nr. 695.6 Vgl. W. Neumann/H.-J' Schulze, Fremdschrit'tliche und gedruckteDokuiente zur Lebensgeschichte l. S' Bachs 1'685-1750, Leipzrg 7969(Dok Il), Nr. 408 und 465.Ar 0 r - s 6 s , 1 8 6 r u a p s a z / i r t " f Y , " : H i ) ; f , i : f t r , u ,w r S u n t a l a r p a q n - 1 J u g . m z u a r y n l s ' a z l n q ) S r u r q r e o f - s u n H I 3 A 8- l a m ' u I I o t A a l p s J a p u o s a q ' u a l u a t u n J l s u l u r a p u p u nr a r ^ e l 3 r u a p l s q a u ' a $ q o J x l " : l a + q J l J a q J a q l l e M p a r J J- l l o D u u e r { o f u a p r a q n ' ( g g Z t - g O g t ) r a u 8 e 1 4 p a l r y l l o D3 r o a 3 r a l m { l s - t { t e g u a p J n E l l l l g r a p l l l g J r a I H ' u a l- l e q n z n q ) s s n v r a 8 r a 3 u a l r a l s J a l u r a u l a q ) e u r u a f l eJ o A ] s r u a l s r d o ; 4 u a p u a r o q a 8 s l a D l r u n r u a J a q P u s q ) e gn z q J e u u r a q J s u v t u a l l e r u a p q ) B u a q J n s r a p I a g' u a l s r d o ; u a u a s a r r v r a 8 q r e ul q r t u 8 4 t a . t . u a p u e S u e l s l q s a u r a p u e H J a p u o ^ 9 - I l a l- r z s C a l p u a r u u r e l s I I a T { I I P I T I M u l 1 ( a q e 8 s n y - q r e gu a l l e r a p u r p u n e + l l d s u o n o s ) u a q a s a 8 u e s q r e g q d e r 8- o l n v u r a s l e 1 r a 7 a 8 u e l U l r q J s p u e H r a p I l a J a r a l l e r a pa p J n m p u a 8 1 o ; s n e r { J l a o d 8 u n z 1 P q r s u l f l r a q ' s s n u J u a q- r a l q q l s q a r { 1 o d f q S u n s r a r n r n T a s a l p s s e p o s ' a q e 8 u e- s r a . r . 1 a q r s r d d l u a r y r r q r s p u e g s p q d l s a M r n J a l p q ) o p- a [ l F { a I s g 6 ' l u u a u , , u l a l l e a u I I o I A a l p r U u a 8 n g p u nu a l e u o s 9 " q J e g ' 5 ' { u o , t , , s o l o s - u l l o l 1 a u a q a u q l s a 3 "I I r q n U r a p r a + u n t g L I r q e [ u r a p s n e l o q a 8 u e s p e l- J a A u r a l e u r n z ' r e r v r q e q d + s a M U l J t l J s p u e r { u u r e l s a u l al s u r a l J r l { J s p u e p l a p u a 8 a l l r o l a l p q J n e s s e p t e q > l u a pa r e z r a ' 8 o z a q l e q d f s a M q d o l s r r q 3 u u e q o { s r a l p u e q u a l l- D I r s n I N r a 8 r n q r u e l l s a p l u a u r r u o s u r a p s n e u a I I > l I S- n I A J p u a u l a r { r s u e n e r { r s l e d u l a r { l r M p a l r y l l o 3 u u e q o fe p 1 J o ^ a s s l l 4 u u a I J g a u l a > l u a 8 a r T a g a n S r a p S u n r a ;- a r l r a q j l a q n r J a l p r a q n ' u a p u r y a 8 , , S r n q s r a l a d ' l Sn z n e q J s l e d s r a l a r d s r a r . t e l J s a p a s s e l q J e N u r a p u Ir a r d e 4 u a l u r u l l s a q u a p e l J a l l n g u a p J n J ' u r a l l e r a l u n "t I g I r q f t u l 1 t l r q ) s p u e H a l p - a 8 1 o ; n z a l l a s u a l o Nu a + s r a J a p U n C u r p z l l o N u a l r a l l r z 8 g . p q J a u r a - a i l e r {n e r { J l a o d ' u r l r a g u r 4 a r { l o l l Q r g a q r r l S r u o ; a S r l e r u e pa l p u e I 7 S I J a s a l p l r t u a 1 3 u e 1 a 8 p u n s n e q J l a o 4 3 r o a 9S u n l u n u e g r n z a p o q a 8 a 1 1 a n [ a r c ' s u a p u n q r q e { ' 9 1s a p a p u g t u o ^ 9 0 0 I A M g u o ^ u l r t { J s q v u a p u a u r u e l sp u H J a J a p u e u o l r a u l a a r l t o s ( u a 8 u n 8 e r l u r g u a J- a 1 e d s u a 8 r u r a l r u r ) s p a p u n q r q e f ' 8 I s a p a U I H ' I r a ps n e u a l s r d o ; r 1 u a l t r u E l a q u n s a u l a p u e H J a p u o n u l a { I z- s e 6 u a l e r e d a s u r 9 0 0 I - I 0 0 I A M t l u o ^ u a u l r q ) s q v l 1 r u+ n l o l u o ; ' ( Z g Z a 4 ) a g ' s w ' s n 1 A 1 ' z l t s a q t n l l n ) r a q r s l [ l- n a r 4 S u n g r l g ' u q r a g n z ) a r { i o q q l q s 1 e e l 5 ) 3 a r r a n [' ) J n r n z ( y a 1 1 a n [ ) s a u u e h l s a r q l U I r t l J S u r a S a q d e r 8- o l n e a l p J n E J e q l a l l l r u u n t e , r , r l u n u q s a q S r a q u e r u l q r gr a 8 r a g r a 8 r a z u t q r s u n e r g u a p u e a q e 8 r a l r a l 4 J n z u l a r a q- u r o n u o l r e q u a J t o a l p / U I n { r s q V s q l e g ' n t r ' V } r { a 8' l q 1 8 r a I a r J S I a J I a M z q r r a l S r a n u r a a I M ' G S Z a 4 ) u g ' s w' s n 7 g a l n a q ) + r a J a l l r a q n o l o s o l l a J u o l o l 1 r r . t J u a + I n s r a pa r d o ; 4 u a p u a r l { n r r a q q ) e g ' n i ' V u o ^ s 1 1 e ; q r t a 1 3 r a u r al r u r w e s u l a u r a 8 l s q l e u n z a p J n M a 1 1 a n $ a r q , ' 8 r a qu o , t a q e ' s n e a l l r u r s r e c r n z u o . M r o ^ ' u a s t a p c " : t f b i i l ] t ; f t i- u e M r { J S 8 r m p n 1 r { J I J u a H 3 r o a 3 u o l u a z l e s n z l u t ' q Z L I/ L Z L L w n u a q a r r q l s a 8 ' r { ) e g e u a l e p 8 e l N e u u v u o ll J I r r { J s q V : @ g Z a t p a g ' s t u ' s n 1 4 1 ' z y s a q r n l l n ) r a r { r s l g- n a r 4 S u n g r l g ' u r p a g n z ) a q l o 1 q l q s l e e l S ) g a r r a n $' u a q l a l q u a J t ou a 8 e r g u n e l a q e 8 s n e n a N u a L I J s I I I J > l r a u l a I a q s s e po s ' s n e u a B u n u q r r a z a q s u o l l e l n l l u v J a p q J n e I I a I z- a d s p u n s l x a l u a l o N s a p + I o { 8 F e u a 3 a g o r 8 a l p q J r n pq f , r s l a u q J l a z p u n s q ) e g u a + J l J q J s p u e q l e u r 8 r r 6 u a l- s u o q ) s u a p n z g o q a 8 { o s u r l o r 1 r a p q d e r S o l n v a l u u o l- a q u l t { l r a . r y \ a { J n r p a l l r u l s > l e c a r a l q a u q l J n p s c' a p r n m u a q a 8 a S l l n r- n z a I I I u r e C a l p u e r a p a l . r r z l l s a g r u a p t u a J J ( 2 8 q r a . ' l t- 1 r a z ) s n e l q ) I a l l a l ^ l l r u o s p u n a 1 3 u e 1 a 8 a p u e H a J q Iu r 1 1 u n d 1 r a 7 u a l e d s u r a s a l p n z l s J a s a s s e p ' u a q r a r d sr n ; e p s 8 u l p J a l l a l u u o > l J a l q J o I J a u l a s > l J a u r J a n z l l s- a g r q l q e z s a r q e f a r p l r u e > 1 s u q o s u a l s 8 u n h t a ' t t zs a u r a s z l r s a g u a p u I p o J s t { ) g ' 5 ' { q l e u S u n p a l q r gn p a B n T u r r q d e r S o l n v s e p s s e p ' u a t u r { a u n z u e } s Is A ' a U J I M S r n q l t n g u r J a l s l a u r u a z u o ) p u n J a I I S m u- I o H s l e p o J u r a u l a s n z s l q 6 t r L I u o ^ n p ' ( 9 6 L Ls l q Z ; L D r { ) I r p a l r C q d o l s r r q 3 u u e q o { s u q o s - q ) e g u a l- s 8 u n h t a . u z s a p r a l q ) o J a u r a ' ( 7 9 9 1 - Z 9 L l . q r e g e s l n o - 1 u r l s r r t l 3 J n E l a l n a p s a r p ! , , 7 7 9 1 1 S r n q a > 1 l n g I q l e ge s r n o l " > l r a u r J a l z l r s a g a l q J e J q a 8 u e g e l q z l e s J o 1 r u a pJ n e r a p l a p l l q a l a n [ r a p 8 a - r a s 8 u n r a J a r l r a q f f u a r a q n r yu a p J n I 1 > 1 u n d s 1 1 e q u v u a l a l ) u o l u a 8 r z u r a u a C I ' z l l s a q- l e A r J c I u a l u u I a q u n s n e 0 6 8 I r u n q J I T u I a q J S J q e M s aq J e M J a l s n u ' u a u r u o u a S ; n e u I T J a g { a q l o l l q l g u a q J I T- 8 l u q ) u a 8 r l e r u e p r a p p u e l s a g u a p u I l s n 5 r u l a q l l Mu o l s s F { ) N t u a p s r . e L l 6 l a p r n m q d e r S o l n y s e q' + r a z J a u a r { } g ) J a p s n e a > l r a MJ a l a p u e U I J t I J S J a p a I N r n z q ) n e u O r u a s a l p s n e a r a t d- e d q ) p g a l a p u a . M r a l u a p n z ' r { J I I q J n e J q a B u r a u r a S l ep u e l q J s l n a p l a + t l h t r u I o s l e u q l l w r e m ' J e q s l a . & { r { J e uu a l ) V n ? v d r a l u I q r n e 1 Z L L v n s d d l s a s a r p r a r d e 4J a I P q l s w I t I J e o { l s l q l o p ' u a g a l l r l J s n z s n e l q J l u J e ^ r zl s r s a r p r l l l a r q n e u a r l t g y - l l e q u v u o ^ p l o d o a l u a l s r n Cs a p a 8 1 o ; a g u t l 1 Z L I J a u r u r o s u r l I { J I S q l e g o . l t ' u a p- u n ; a 8 p e l s p e q s l J e ; u a u a 8 a l a 8 a q e u u r l a q e q u a l l + J e dp u n u a + e u o s r a p U I J t I J S T a p a I N a r p ' S t m l n u u a n r a p n za u q r y p u n l a g r a s a r p l p q l s u r l t l r P o f u a q r s n u q o q t u a ps n l u r u r e l s r a l d e 4 a l a p u a m J a ^ a 1 1 a n $ a l p r n , s e c' g 7 1 y ' o l u u l a I ' W a g : q a g : 4 o l I a p | ' o w t r d o t q t - I | ' o l a l t- S u d w o t t u I o s s o g I a z u a s I o u t l o t A I V I ' o l o s P S : l a l ql e u r 8 u g r u a p u a S l o ; l l r u s q r e g ' S ' [ U l r q r s u r a l a S r p- u e q u a 8 r a : ( n O a L I J a g ' s l u ' s n w ' z l s a q t n ] I n ) r a t { r s l g- n a r 4 S u n g r l g ' u q r a g n z I a q l o l T q l q s l e e l S ) y a r r a n $che er hernachmals, nebst dern Studio theologico aufdasiger Uniuersitiit immer fort getrieben ... ."10 Wag-ner, der von 77\2bis 7779 Alumne der Leipziger Tho-masschule war und wdhrend dieser Zeit den Unter-richt Johann Kuhnaus genoss, nahm - wie aus ver-schiedenen Dokumenten hervorgeht - in den Jahren7723-7726 als Geiger in KirchenmusikauffrihrungenBachs eine ftihrende Position ein.11 Eine eindeutigeIdentifizierung durch Schriftvergleich wird durch denUmstand erschwert, dass von Wagners Hand nur eini-ge Textdokumente, jedoch keine Notenschriftzeug-nisse vorliegen, wdhrend P 267 nur wenig Buchstaben-schrift enthiilt. Immerhin finden sich die meisten derin den Werktiteln und Satzbezeichnungen anzutreffen-den charakteristischen Schriftformen (vor allem dielateinischen Buchstaben C, F, G, g, P, S) auch in denBriefen Wagners wieder, so dass dieser mit einigerWahrscheinlichkeit tatsiichlich als Schreiber vonP 267gelten darf.r2 Akzeptiert man diese Zuweisung, dtirftedie Abschrif turr.7723-7726 inLeipzig entstanden sein.QurnE D (Staatsbibliothek zu Berlin, Stiftung Preu-Bischer Kulturbesitz, in Mus. ms. Bach P 804), Teilab-schrift von Johann Peter Kellner, geschrieben 7726.DieAbschrift bildet den22. Faszikel (5.727-746) eines um-fangreichen Sammelbands aus dem Besitz des bekann-ten thtiringischen Kantors und Organistenl3 und be-schrdnkt sich auf die drei Sonaten sowie ausgewAhlteSdtze der Partiten 2 und 3. Kellners Abschriften ent-halten, speziell in den Fugen der Sonaten in g-Mollund C-Dur und in der Chaconne der Partita in d-Moll,zahlreiche substantielle Varianten zu den Werkfas-sungen des Autographs und der tibrigen frtihen Ab-schriften, die kaum als authentische Alternativen ge-wertet werden konnen, sondern allem Anschein nacheigenmiichtige Eingriffe des Kopisten darstellen.ll Die10 Vgl. Dok III, S. 65;1 (Nachtriige zu Dok II, Nr. 32'la).11 Zu Wagners Biographie vgl. besonders Hans-Joachim Schulze,lohnnrt Sebnstinrt Bnch und Georg Cottfried Wngner - N'':ue Doktnnente,in: Bach-Studien 5, hrsg. r'on Rudolf Eller und H.-1. Schulze, Leip-zig 7975, S. 147-754.12 Verglichen wurden Wagners Bewerbungsschreiben um dasKantorat in Plauen vom 9. November 7726, sein lateinischer Le-benslauf vom 16. November 1726 sowie sein Bewerbungsschreibenvom 23. Juni 7744 um das Kantorat in Freiberg (Kopien im Bach-Archiv Leipzig).13 Eine genaue Beschreibung der Quelle findet sich bei RussellStinson, Eitt Sammelbnttd aus lohnnn Pr:ter Kellners Besriz, in: Bach-Jahrbuch 78 (1992), S. 45-64.14 Vgl. hierzu Russell Stinson, J. P. Kellners colty of Bachs sonatasnnd partitas for uiolirt so1o, in: Early Music 13 (1985), S. 199-211,sowie ders., The Bach Manuscripts of lohann Peter Kellner and HisCircle. A Case Study in Rece1ttion History, Durham und London,1989, S. 55-70. Eine detaillierte Beschreibung sdmtlicher Abwei-chungen in Quelle D findet sich im Kritischen Bericht zu NBAvr/1, s. 34-44.VIChaconne etwa erscheint in Kellners Abschrift ummehr als ein Drittel gekirzt; auch in der C-Dur-Fugefehlen ldngere Passagen. Fiir eine kritische Edition istdie Quelle demnach ohne Bedeutung.QunrE E (Staatsbibliothek zu Berlin, Stiftung Preu-Gischer Kulturbesitz, Mus. ms. Bnch P 968), Abschriftvon der Hand eines Kothener Kopisten aus der Zeitum 7720, der auch in den Kothener Originalstimmender Kantate BWV 184/784a sowie in den gleichfallsin Kcithen entstandenen Stimmen der d-Moll-Fassungder Kantate BWV 21 nachgewiesen ist.15Der Schreiber der Violin-Soli wurde von Hans-Joa-chim Schulze hypothetisch mit dem Kothener Orga-nisten Emanuel Leberecht Gottschalck (gestorben1727) gleichsesetzt, der 7779 die Nachfolge JohannBernhard Bachs als Notenschreiber der Hofkapelleantrat;16 bislang fehlen jedoch signierte Schriftsttickevon Gottschalcks Hand, die eine Verifizierung dieserVermutung ermciglichen wtirden.tZQurnr F 1+2 (Staatsbibliothek zu Berlin, StiftungPreu8ischer Kulturbesitz, Am.B. 700+b), zwei Ab-schriften aus der zweiten H?ilfte des 18. ]ahrhunderts.Die Quellen gehciren zur Musikaliensammlung derPrinzessin Anna Amalia von Preul3en, einer SchwesterFriedrichs des GroGen und Schiilerin Johann PhilippKirnbergers.lE Sie stammen von der Hand des Berli-ner Kopisten Anonymus 401, der hiiufig in Quellender Amalienbibliothek nachgewiesen ist; auf ihn be-zieht sich moglicherweise eine Mitteilung der Prinzes-sin in einem Brief an Kirnberger aus der Zeit wrn 7780:,,5. Bsch seine Violin So/os, hat Klihn zum abschrei-ben."1e Der in beiden Quellen nahezu identische No-tentext weist gegentiber dem Autograph einige Ab-weichungen auf, die offenbar auf Textverderbnissenberuhen und fiir die Edition ohne Konsequenz sind.2O15 Vgl. NBA I/14, Kritischer Bericht, S. 1.16, sowie NBA I/i6, Kri-tischer Bericht, S.102. An dieser Stelle sei darauf hingewiesen,dass von der Hand dieses Kopisten auch zwei Stimmen (Fagotio,Violoncello) der D-Dur-FassunS; der Pfingstkantate,,Erschallet, ihrLieder" BWV 172 stammen; eine Kothener Auffiihrung dieser Kan-tate kann somit nunmehr als gesichert gelten (zur Beschreibungdieser Quellen vgl. den Kritischen Bericht zu NBA I/13, S. 16).19 Vgt. H.-J. Schulze, Johnnn Sebastinn Bttchs Kortzerte Frngen derUberlieferung uttd Chronologle, in: Bach-Studien 6, t-eipzlg 198t,S.926, speziell S. 19.17 Zu Cottschalck siehe speziell Dok II, S.74 (Kommentar zuNr. 95), S. 203 (Kommentar zu Nr. 277) und S. 535.18 Vgl. hierzu Eva Renate Blechschmidt, Dic Amolienbibtiothek.Musikbibliothek der Prinzessin Artrn Anmlin uon PreuJlen (1728 1787).Historische Einordnung und Katnlog nit Hinueisen nuf die Schreibutler Hnndschriftel, Berlir.r 1965 (Berliner Siudien zur Musikwissen-schaft, Bd. 8).19 Vg1. Dok III, Nr. 878.20 Eine 5;enaue Aufstellung und Diskussion dieser Varianten fin-det sich im Kritischen Bericht zu NBA VIl1, S. 48-49.I I A' 9 1 - 6 n ' S ' 0 6 6 r )z 8 q ) n q r q e l - q ) e g : L t t ' s y a p u n T t \ a l ' 6 t s a p a { r r H t t a l s r a n p u s Q p c l' J ) s a \ L , l a A t a B E d D j s a p | M l l r u w o s - q ) b g a t Q , l a \ l , u a 8 l ) I 4 a q- D J " D 1 u l 1 A t l A t l J A g ' U u P r u q a " l u a J e ) a q a l s a 8 e ^ { z u a l u a ^ o J d u J } l e pJ T L I J S a S J a n { r a p a p u n J S J a } u r H p u n u a } I a r { l a z u r : l a l a } I a 1 d r n c t z' s r u r { J r a z J a A- a { l a M - q J e g s a p r a J n e l l o ^ u r a u e 8 e r u r a s s l ^ { a 3 / s r { J e 8 a > u a ^ , \ I P } u a l u- n 4 s u l r a p 3 o 1 e 1 u ; , 1 u a q ) s l l e r u a q l u a l 1 1 a 1 s a 8 S u n 8 n ; r a n r n z 3 e 1 : a nu r a p r a s n e H u o A u e u r o J n e r { J r s l q a r z a q p u n q J s z l r o u l s n 8 n y p u e u- r p r a l u a l l l a t s a B u e , , . r o 1 1 a r r o ; r a l s r g " s l e s r a l e d ! ' J I a q s a p p u e Hr a p L r o A q J l l l n r u r a ^ l u n u P l s , , ' t 0 t o N ' 3 o 1 e 1 e 3 l a s n P H " { r a r u r a ^r a u a 8 e l l a 8 u r a e l u r l r a l o . I l l r u a l l a s u a l o N u a l s r a r a p J n P u r g Z' u r a s l S u r p a q s 1 . r a r 1 4 u a l r a r d o ls a p J n l { e c a r p q r J n p u a q J u q P { l a p r u J o c a u r a p o r u a J B q s l e . . { q ) P ur a l e d s 1 a r , r ] s J e u a r u u n l s u a l e l u e ) s n p u q n ) u r a l p J n p u a q J r a m s n va g l l p r u l a 8 a r s e p a u r n p q ) o p ' u a r u r o J l a t u r { a z q ) a s u a u a q a r r q J s a qr r n ( f u o A r e p u a u v a p r a q 1 a 1 1 e r e d r { J I S u a p u r J U I r t { ) s q V r e p u I Z Z' u a q a g a g J a p a r ^ \ q l l l s r u a l a u l a P lu r u a p J a M ( ' u a p r a , r . l 3 t p u a . , r , r 1 o u q a 8 a u u a q l l l q ) n J q a 8a l n a q u a p q J e u S u n q r a r q ) s u r n a l p L p r n p l q r l u o s l E a r p )u a p r n M l z + a s a g u a s s a u r J g u r a u a S l a q J e u r a q a S s n e J a Ht r l o ^ a r p ' u a r z u a p r z l e z l e s n z ' l z l a s a 8 u I a B a U u a p u a l l a ga l n a q u a p L I J u p u r s u a l z u a p l z ) v a I C ' u a q a S a S r a p a r , r , r> l ) n r c u a p e J a S u r ' . ! \ s n d ' 1 a r . r , r u a q J l a z a q ) s l r u e u d pL I J n e / u a q e l s q ) n g u a u a r u u r o u l u a a l l a n o J a p s n e a l l u a p J a M u r n J e c ' q J r l s u a u I a P I q ) r n p u a q J l a z a S q s u o s' 8 u n 1 a q r r r 1 g q J J n p u a 8 o g ' > p n r p z r r s r n ) q J J n p u a q e l s- q r n g I E M Z p u n ' ] a u r { ) r a z u u a > l a 3 s J a q a S s n e r a H s a pa z l e . s n z a q J r T l u r g s p u r s I a l r l > l J a M r a p a u r { E u s n v l l t r \ t rN O I I C I u n Zd u 1 1 o 1 4 r a 1 a 4r z ' a l l e V u a p u n J a q ( e e V Z Z t D z i l l o d S I M p n - Ir l J r J u r a H I J J u o ^ z l l s a g u r l s l e u J a l u r { f , I s a I S F { o . / ! { q o' a p r n , u l q r a l J a ^ u r a - S u n l u u e $ I I S n I A I u a q J s l l p g l s r a ps l p - z l r l o d S u n l u w e s J a p a r s o . u ' 1 a r { l o l g l q + p e } s r a 8l z d t a - l a r p u e u a l l a n [ - q J e g u a l l o l l J a m u a l a p u e + I u r] J l l { r s p u e H a l p a l S u e l a 8 ( g E S f - E S Z I ) a u r q g g p u n r u- 8 a r g l a q l l o D I r e J s r a q e q u l s g e l r a 1 s a p p o J u r a p r { r P N, r ' 3 u n 8 n ; r a n J n z u a q E r { r o l s u o q l p g J n J s r a } a d ' C ' ) 8 e l- r a ^ u I a p a r s a l l l a l s J a s a I C ' J a s n B H z u e J c s J a F u u r e s u a l- J r J r { J s p u e H s a p z l r s a g u a p u r r a l s n q l s q o l D o 3 u u e q- o { r o q u e ; r a z l l u s l a o u a p r a q n 8 I r u q a 1 1 a n [ a t 6' u a l u a s s a J a l u l u a u l a u e a q e 3 r a 1 r a 1 , 4 r n z s q J e g 8 e r r y n yu r r r a q e r a p o a l S q r a J u e q r n e J q a l u a u a 8 t a u a p J n J> l r a M s e p n u q n ) q o t e 1 1 u n l s l s g z z ' u l a s u a p u e l s l u a Z L L \ p I 3 u e ; u y / r u n l a p u g - a 1 3 1 o ; r a S u n q l a r q r a l u na J a g u e l a u r { o a r u r { e u a r d o ; , 1 a l p s s e p ' s n e l o ^ u u r l z l a s- a l e u o s - i l o 1 4 i - 8 r a p U I l p s q V s n e u q n ) a + J r r - t p ] 1 r u o s' n Z ' S ' 9 L 6 I l a s s u ) / 1 9 6 I t p n q l 4 | | ' q r a g s n o l r l 1 r p 4 r a ND u a q a s r d o u a 9 a 4 4 t u 5 1 p u n u a 9 u r t q t a u t u v l t r y : a 8 a [ n y a 1 l a i l Z ' s q ) o gu o 4 s a q a s u u u t p ! a 4 t a m 1 a t 1 o r 1 t a t n d t a l t a T t a 8 o 1 o u o t 4 3 t t l z u a t p n i st r n q p a r l v a q a r s s n e u l { n ) U r l { ) s u a } o N ; a p S u n l p t m l u J r n z I Z' s l a s s n l q ) s u l T o l 1 s a p u r . r o g a 1 3 a 1 a q , ( L f l A M g a l e l u e )r a p u a u r u r r l s l e u l S r r 6 ) t Z i l \ n I ' Z t u a p q e ' a r a 8 u n fa r p u a 8 r a z V - Z a z + 9 5 a I C ' l r u r u o ) r c n ( 2 7 1 1 I u n l ' ? Z t u el r q n J a 8 J n E ) L g l L M B . a l l u e ) - s l u u e q o f r a p u r 8 q e r . u- 1 2 1 a 1 S u e 8 n { e f u a ] e ] u e ) n 3 r z d t a l u r a + s J a s q l e g n zu a r u u q s u a u l a s u l a ] p , r ' l a p u a . t r r a n s l a s s n l { J S U I I o I As a p r u J o c a r a l l e a l p s a z l e s u a l s J a s a p u l J t { J s q v J a u l a su r n e u L l n ) s s e p ' p u e + s u r n r u a p s n e r { f , I s l g l S r a a 1 1 a n [u a p u a q a S p n r n z q d e r S o l n v s e p J n e J e q l a l l l L u u nr p q u a u o r a p S u n r a 4 e q a n e u a 8 a u l i 1 ' E Z L I u a q a l l { ) s- a B ' n e u q n ; q s e a r p u v u u e q o { u o ^ I 0 0 I n , 1 4 9 1 1 o 1 , 1 1 - 3 u ra l u o s r a p U r l p s q v ' ( L ' s W ' s n w ' l a o d ' > l a q l o l l q l q l l s- n w ' u a > l a r { } o l l q l g a q J s l } p 9 l s r a S r z d r a l ) - I i l ' I f i l n o' S r 8 u e q q e ( Z O g t ) > l J n r p l s r g u a u a u a n { ) s r a ) J o r- t u l s l a q u r a p u o ^ r e q u a J ; o + s I l x a l u a + o N r a p l l a l q r r r a 8- u r a o l l a J u o l o l 1 J 4 J - u a 8 u n r a p u v a l l a r l u e l s q n s a u q o- U I J t { ) s q V J a s a l p u I u a p J n . l v \ a > l J a M a I C ' u I I J a g n z> l a q l o l q l g a q r 1 1 3 r u o ; 4 a l p u e q r s o l s u o ^ u a J E r D s a u a> l u a q r s a D s l e g 9 8 I r u e l U l r t { r s p u e H a I C ' p a 4 o u ( 1 a s- s n l q J s J o u a l U J I a s I a M I I a l u a l l a l s a q o q ) l a s s n l l ) s s s gt u r r a J a r l a u r z a p o n q a u l a ' s l J a p u n q r q e f ' 6 I u a q n { s a pi I I r L I r s q V ' @ Z a q r a g ' s t u ' s n w ' z 1 r s a q r n l l n ) r a q r s l s- n a r 4 8 u n 1 ; r l s ' u r l r a g n z ) a q + o l l q l q s l e e l g ) 1 1 a r r a n $' > l J n J n z a 1 1 a n $ a l p u e l , \ r a ^ r { e u u a s a l pa u r a ' M Z q ( g a 1 1 a n S ) U I r q ) s q V J a u a r { 1 g ) a p r a p o ( y a 1- l a n [ ) q d e r S o l n y s p p J n e l { a r r p a s r a . t r r a q l t l S o r u l q a 8u l r q r s p u e H a r c ' w e > I u r l r a g n z > l a q l o l l q l g a q l r l S r u o ; qa r p u e u q o s s u u e u r d a r l o a 1 l e t r e n b r l u y s e p J a q n l 8 8 Ia r s s s e l q l e N u a s s a p s n e ' 1 1 a r 3 p J n p g u o l z l l s a g t u la 1 1 a n $ a r p q ) I S p u e J a q l r a p u n q r q e j ' 6 I t q l r o n a s s l u- l u u a > I J g a u l a > l u a B a I I s J a z t l s a g u a l s J a p u n s J a q l a r q J ss a p u o s r a d a l p r a q l l ' s u a p u n q l { e f ' g 1 s a p a p u g u a 8 a 8L { f , r l l n u r r a ^ u a q a u q r s a S t a S r a g p a l r y + l o D u u e q o f u o , rU I r q ) s q V ' ( g t g d 4 r a g ' s t u ' s n w w r ' z 1 r s a q r n l 1 n ; t r r a q ) s l y- n a r 4 8 u r y ; r l g ' u q r a g n z > l a r { l o l q l q s l e e l g ) 3 a r r a n [PREFACEjohann Sebastian Bach's cycle of three sonatas andthree partitas for unaccompanied violin represents anuncontested point of culmination in western music forthe violin. The pieces set new standards both in in-strumental performance and compositional technique- standards that have lost none of their currency overthe years. The extraordinary nature of these works wasalready recognized in the eighteenth century, althoughopinions differed as to their artistic significance. CarlPhilipp Emanuel Bach regarded them primarily asevidence of his father's profound expertise in the idi-omatic handling of string instruments, and hence asunique teaching material: "He had a complete graspof the possibilities of every member of the violin fam-ily. This is abundantly evident in his solos for violinand cello without bass. One of the greatest violinistsonce told me that he had never seen anything moreperfectly suited for becoming a good violinist, andknew of nothing better to recommend to willing learn-ers, than the aforementioned solos for violin withoutbass."1 In contrast, Bach's pupil Johann Philipp Kirn-berger emphasized the compositional achievement ofthese pieces. Kirnberger felt that the pinnacle of con-trapuntal mastery lay in the art of omission: only acomposer fully capable of displaying the intricate se-crets of harmony and counterpoint in a work with areduced number of parts could be said to have thosesecrets at his command. Accordingly, after explainingthree- and two-voice fugues in part 1 of his treatiseDie Kunst des reinen Sstzes in der Musik (777I), Kirn-berger turns to works for unaccompanied melody in-strument: "It is even more difficult to write a simplemelody, without any form of accompaniment, so har-moniously that it is impossible to add another voicewithout committing a mistake, quite apart from thefact that the added voice would be clumsy and barelysingable. It was in this form that ]. S. Bach wrote, with-out any accompaniment whatsoever, six sonatas forthe violin and another six for the violoncello."2By reducing his compositional resources to the bar-est minimum, Bach set himself an extraordinary task:to display the full harmonic and contrapuntal riches1 Letter to fohann Nikolaus Forkel, end of 7774; publishedas no.801 in H.-J. Schulze: Dokumente zum Nachwirken I. S. Bachs1750-1800 (Leipzig, 7972); hereafrer Dokllt.2 op.cit., no.767, p.219. Kirnberger's assessment was lateradopted by Johann Nikolaus Forkel and Friedrich Rochlitz.VIIIof his musical idiom, with no noticeable loss, on amelody instrument with a limited capacity for render-ing chordal and contrapuntal textures. This is the gen-eral drift of a remark by Johann Friedrich Reichardt,who felt that the mastery manifest in the violin solosresided in Bach's ability to proceed with utmost free-dom and assurance within his self-imposed fetters. Inthis light, Philipp Spitta's reference to the Chaconne ofPartita no.2, which he called a "triumph of the spiritover the material", is a fitting description of the en-tire monumental cycle.Bach, in his works for unaccompanied instrument,ventured into a medium which few composers hadexplored before him and whose possibilities had noteven remotely been exploited to the full. Among hispossible forebears, special importance attaches to thesolo suites of ]ohann Paul von Westhoff, an impor-tant central German violinist who was a member ofthe Dresden court chapel from 7674 lo 1697 and achamber secretary and musician at the Weimar courtfrom 1699 until his death. Bach surely met him as ayoung man during his first Weimar appointment in7703. By then Westhoff had already published a col-lection of twelve suites, entitled Erstes Dutzend Alle-manden, Couranten, Sarabanden & Giguen Violino Solosonder Passo Continuo auf die neueste Manier mit 2.3. t4. Sayten (7682), and another volume of six suites in1696. The first collection, published under his ownimprint, is now lost, but two copies of the second sur-vive. They reveal that although Westhoff's suites borehardly any stylistic resemblance to Bach's works, bothhave the common goal of transferring a polyphonictexture to an unaccompanied violin while adhering tothe rules of strict counterpoint, thereby elevating thisspecies of composition to the realm of high art.According to an annotation on the title page of theautograph fair copy, Bach completed his cycle in 1220.Nothing is known of his reasons for composing it, nordo we know who may have commissioned it or borneits dedication. The cycle has occasionally been men-tioned in connection with the Dresden concertmaster|ohann Georg Pisendel, who was personally ac-quainted with Bach from 1710. However, we have noway of knowing whether the works were intended forPisendel, or indeed whether he was aware of them atall. Remarkably, the autograph of the violin solos ismarked "Llbro Primo", perhaps implying that BachX I' 1 1 r f o q r a g e a r a q 1 9 9 t r p u e 8 0 t ' s o u ' ( A g A t ' B V- d l a l ) O g t t - S g g L s t l r o g ' g ' l a l 4 t n p s a t s u a q a " I ) n z a t u a u t l \ o ( f a l l x t t t p- a B p u n a t l t t l l i t 4 t s p w a l J : a z l n q ) S I - H p u e u u e r u n a N ' M a a s 9' 9 6 9 o u ' l l l ) t o l I' 8 0 8 o u ' i l l 4 o ( I tu I \ z L I J o r a u r u r n s a q l l u a d s r { r e g a r a q , ^ ' ( , { r e n , L r o 1- J ) ) p e q s l J q q d q r e a u u I l n o u a l l I J M a J a , l r s e l l u e d p u Ps e l u o s a r { } l e q } a s r u r J n s o 1 s r e l o q l s a r u o s p a l s e q d r a- A o J S r p s i l { I ' e r u r a q o g ' l e q } s w } l J e o l u I p a r n } J e J n u e u rs e ^ r l d r r ) s n u e r u s r q l u I p a s n r a d e d a q l ' \ Z l L ' o l u u l t )| ' \ r a g : q a s : q o l I a p | ' o w l t c l o t q ! - I | ' o w u S u d w o r r aI o s s a g I a z u a s I o u 1 o t A I v I ' o l o s , a s : a l l l l I u l 8 u o3 u r . r z r o 1 1 o 1 a r { l q l l ^ { q ) e g ' s ' { 1 o p u e q a r { } u I d d o l r r e ;q d e r S o l n y ' ( t S A a L I J a g ' s w ' s n w t z l $ a q r n l l n ; r a r { r s- r t n a r c l S u n l y q g / > l a q l o l q l q s l e e l s u l l r a g ) y a r u n o g: I / I A V g N o l l q J l r a g r a q r s- q r J ) a q ] J o u o r l e J r l q n d a q l a J u r s u r a q l r u o r l u m e J pu o r l p r u r o J u r ^ \ a u a r { l o l a ) u a r a J a r q l l M 1 / \ o l a q , { g a r r qp a s s n J s r p a J e s a J J n o s a s a q l J o l u e l r o d r u r l s o u a q I' s a ) J n o s S u r n r n r n s , { u e t u a q l , , { q p a 1 s a 1 1 e s r s e ' d r n l u a rq t u a a l q 8 r a a q 1 8 u l r n p u o l l e u l u r a s s l p a p l m d l S u r q s r- u o l s e u e p a d o f u a s o l o s u r l o l ^ a r { l ' u u o ; p u r 8 t r o r r a q }u r u a l a ' a s e J a L I l J a ^ a l e q M ' s a u r e f ' l S t o q J J n q J a q l l eu e 8 r o a q 1 l n o p a l r + a q u a q m a r a q l p a d e l d q J E g $ [ r o l u \a q 1 S u o u e a J a M a s a r { l r a q l a q ^ { p w e ' 1 z L l J a q u r a n o N u I3 . r n q u e 1 1 o 1 I I S I ^ s , r { J e g r u o J J s a l e p e s e l u o s r o f e u r 3p u J o u r u r V a r { l J o s l r a f q n s a n 8 n y a q ] q ] r , r , r d l u e l l u r- e J s , u o s a q l l e y q u u e q o { J a q l a r { M o l s e s a s l r E u o r l s a n ba q 1 ' d g e u r g ' ( O O O 1 n m g ) a l n y p u e ( Z / e * A M g ) u e 8 r or o ; s u o q d r n s u e r l u r u m o p p a p u p r { u a a q s e q I 0 0 I A M t le l e u o s ; o a n 8 r y a q 1 ' , { p e l u r s ' l o > l r l u l l v g d o l s r r q 3u u e q o { ' M e l - u r - u o s s , r { J e g ; o d r e r q u a l e n r r d a q l u r o J Jl d r n s n u e r u e u r s n o l u m o p a u r o f , a l e q q t l q m J o t p o q' ( g g e n m g ) g 0 0 I A M g e t e u o s J o l u a r u a ^ o r u S u t u a d oa q l p u e ( f S O n A A ) t 0 0 I A M t l e l e u o s ; o s l u a u r a 8 u e r- r e p r e o q d a l a q l d q p a p r , t o r d s r p a q s r l d u r o ) ) e u a a qa n e q l q 8 n u s t t l + z n t o t { J o p a p l u V s , , ' p J e o q d a > 1 a q l u oa r u e t u r o y a d J o J p a l l n s l a u n t d r a , l a l e l n q ' s e 1 r 1 r e d a a r q lp u e s l e u o s a e r q l ' l r e d s s e q e l n o q l l m s o l o s u t 1 o t r r . , { 1 e- n + J E a r e . , { a q 1 , , l e q l S u r p p e ' $ l r o m p r e o q d a l s , t { J g J od a , u n s J a r r q e u r s a r a r d a q l p a u o q u a u l 8 u n 1 p y q o l e fg g l l s e , , ( F e a s y u , , ' u o r l r s o d r u o r l e u r S u o a r { l q u l i l ed g o q z w l o u p l n o t a q l e q l u o s a r { l ; o d u o u r r e q l u e u o s a re J o I p a a u a q 1 p a 8 p a y r t o u > l J e a q ' o o l ' a r a g ' d r e s s a r a up a u a a p a q s e d u o u r r e q q f , n r u s e S u r p p e ' 1 1 a s r u t q p J o q J- r A e I J a q l u o r u a r { } p a , , { e 1 d u a u o J o r { l n e r l a q J - , : e I o J- r r 8 y q r r r p a r r g u u e q o f p d n d s , q r e g d q l u a t u a l e l s e s 1a ) u a p r l a 1 o a r a r d 3 u q 1 a 1 l s o r u a q l ' s l u a u r n r l s u l p J e o q- , { a 1 u o p a d e l d a q d l e u o r l d o p p o ) d a q 1 1 e q t 1 s a 3 3 n s o 1t a l a r \ o r { ' a ) u a p r . , l a r { f , n u r s I a l a q J ' u I I o I A a q l u o s a r a r da s a q l p a d e l d ; l a s u r r q q J e g r a r { l a q m u l e u a ) u n s I l Il u r ' u r o r J d l t r a r r p u r r o , { 1 } r a r r p s a ^ r r a p d 1 a ' 1 . , { r a n , , t " u t X t J } 1 t ia r r n o g ) q d e r S o l n e 8 u r , r . r , r r n s a r { l u r a s o q l o } I e J l l u a p l d l a B r e l a r e 3a r r n o s u r s 8 u r p e a r a q l ' t / I A V g N j o 7 9 ' d u o p a s s a . r d r a ^ { e r ^ a r { } o }f t e r 1 u o 3 ' s l r q e q I e u o q e l o u u m o s l r { . t l o l l o J d l q e u r n s a . r d p l n o m a s nu . M o s n { r o y . , ( d o r a q } p a r e d a r d o q ^ \ u e r ) r s n t u l u y ' s u o q u a , r u o rI e u o r l e l o u s n { , , r l o l i o J . , ( 1 1 r r r 1 s o } p a l r a d x a o q p l n o J ( s u o r l r n ; 1 s u rp a l r e l a p s l q q l l M s d e q . r a d p u e ) l s a q a q s , q r e g t p 8 u r > 1 . r o n t1 s r , { d o r e d i u o 1 e q 1 ' r a ^ e . 4 l . o l l ' p u l u r u r 1 d a > 1 a q p l n o q s } I ' 9 l l l u lp a p r e ) s r p q r e g l e q t u o q u a ^ u o J I P u o l l e l o u e - ( : ) u 8 r s 1 e r n 1 e u . { r e- L u o l s n ) a q l J o p e a l s u r q r l r d p a s r e r i a J u e ) o 1 ( 1 ) u 8 r s 1 e g p a i e n b r l- u e a r { l p a s n a q l J ) s e q l l e q l l J J a q t u o s a 8 u r q , , ( 1 1 e r r s e q ' { a I A s I t ' { J' f t ' d ' I / I L V g N o r l r { r r r a g r a q ) s r l r r ) p a u o l l u a r u e r o J e a q } u I p u n o Ja q u e r s l q 8 n o q ] r e p u l s ' 0 2 - 6 I , ' d d ' ( O O O Z ' S r z u r g ) Z Z ' U e r { r s u a s- s r m { r s n t \ J n z u a r p n l s r a u l l J a g ' 8 u n p a 1 3 a g a u 1 o J l u a w n ) l s u o t p o p wn l u a 4 t a 7 r , 4 s t l r o g ' S I u t 1 n t 1 S r u r w t 1 s - l t l r r { : n e l a s u e C s u a r u a l J a a s ' s r e a , , { r e r u r a 1 , 4a q l u e q l J a q l e r p o r r a d u a q l g l s , L I J e g o 1 l u t o d a s I M a I I Td r q s u e r u r y o m J o l J a d n s a r { l p u e s l u a u r a l o u r a q l I os u o q r o d o r d s n o n e d s a q l ' ( 9 9 A M O u a z o H t t l t ' L l r n af l a $ t 1 e l e + u e J r a l s e g B r z d t a l a q l J o s n r o l p S u r u a d oa q ] s e s a ^ r ^ J n s r { l l l l / l r ' ( e 9 9 A M g ' 3 1 7 1 r a q u a r a q )4 r n l ) p u n u n l t l > I s i l a q u y l n a q t u p p w t u l H n Q e + e l u e ra q l J o l u a u r a l o u r F u r J a q t p u e ( 6 t 0 I A M g ) s o y a r u o JS r n q u a p u e r g r { i l n o d p u p } s r r c a q + J o s p e d u q o r . t a q 1q l l M s a l l l J e l l r u l s s J e a q l I ' p e a l s u l ' a J n l e u r a J o u r r { J n u rs r S u r l r r r r r u r l o r ^ a i { l - ( z I A M B ) u L p g a r y l a l n n q' a 8 a 1 4 a t p p f l a D g ' g T L l J o e l E l u e f , l u a ^ p v a q l J o t u a l u- a l o u r I { U I J a q l u a , l , a ' ( 9 7 6 1 A M t l ) e } P u o s r o u l r u g a q l' ( g Z O f n A A ) a n 8 n g r o u r u r D a q l - p o r r a d r e r u l a M s l t {S u r r n p p a l e u r S r r o a l e q o ] p a u n s a r d r o u m o u T s ) r o MJ a r { l o o + p a r e d r , u o 3 ' a l q e q o r d t u r s u r a a s 0 Z l I u e q l r a l l- J e a q J n r u a + E p e ' o o + ' s u o s e a r l e J r s n u r r o g ' q d e r S o l n ea q t J o l e q + S u q e p a + u e s r s a u a 8 s , r y o m a q 1 ; o a 8 e l se a , L r a s a r d s l d r n s n u e u s , l s r d d o r S u r . l , r n r n s a q l J od u e 1 e q 1 f l a l r t u n { U B U s u r a a s + I p u e ' l u r l n r t s a s o pJ E a q l o u 1 1 r z v r ' r a n a . t r o r { ' u o q u a l u o J s I q J ' V I L I a r o P q' a ' r ' p o r r a d r e u r r a M d p e a s , q r e g u r o r y S u r q e p q d e r S o l- n E u e J o a J u a l s r x a a q + l l s o d o l s J e l o q l s p a 1 d g e u o r s e r- f , o a ^ e r { ( z v r o l a q ) a ) J n o s a a s ) s l d r r o s n u e r u s , } s r d d o ld p e a a q l J o a u o u r s a r s e n u d s o l p l l e u o q e + o u s n o I J e A, { d o r l e ; u r l n o u r a q } a l o r m p u e s a r a r d a s a q l p a l l a l l o Jq r e g r { J n { . t r u r r e a d a q l $ l r e l u ^ , { 1 a r a w 0 Z l I r a q l a q m' s I l e t { l ' p o r r a d J a I I J e a u e r u o J J a l e p a p d l s l t { l u l$ l r o ^ ^ a q + J o g e r o l u e r a q l a q M z u t o u > l a M o p r o N' l u e ^ a l a r s s a l d l q r q r s s o d q q l s a { e r u ' u e r J r s n t u l e 1- n r r l r e d e r o ; p a s o d r u o J a J a u n t , { a q l t e q l d l q r q r s s o d a q la p n p a r d + o u s a o p 1 r q 8 n o q l p ' a t u a q J s l e u o r l r s o d u r o rr a 8 r e l p u q l l m s o l o s u I I o I ^ x I S a r { } ; o S u r r a p r o a q 1' , , o z D I o J q I 1 , , p a q s r u r J u n , , { l q e u r n s a r d e u r o { l u a u S e r ;e a q d l q r s s o d d e u r ( g t O t n A A ) a l n g p a r u e d u r o r r e u nr o ; e l r g e d p a l e l o s l a r { l p u e ' ( Z t O t - 2 0 0 t n 1 , 4 9 ) s a l r n so I I a J x r s a r { l { l q e q o r d s e m , , o p u o f , a s o r q r l , a q 1 ' s a 1 l 6I e l u a r u n r l s u r p a l e l a l J o s a l J a s e a s o d w o J o l p a p u a l u rthe retinue of Prince Leopold of Anhalt-Cothen.7 Al-though this possibility cannot be dismissed, paper ofthe same type can also be found in Leipzig archivalmaterials dating roughly frorn 7720, implying that itwas in widespread use throughout central Germany.Moreover, Bach also used |oachimsthal paper types towrite out other works from his Cothen period.In 7977, Bach's autograph entered the holdings ofthe Berlin Royal Library from the posthumous estate ofWilhelm Rust, who probably obtained it from an un-known private collection in or around 1890. The onlyconcrete evidence for the manuscript's early prove-nance is an ownership mark written on the flyleaf:"Louisa Bach I Btickeburg I 1842" . This is a referenceto Christina Louisa Bach (1762-1852), a daughter ofBach's next-to-last son |ohann Christoph Friedrich(7732-7795), who was a court musician and concert-master in Biickeburg from 7749 untilhis death. We mayassume that the autograph entered the possession ofthe "Btickeburg Bach" when j. S. Bach's personal ef-fects were dispersed after his death. However, the yearcited in his daughter's ownership-mark may imply thatshe only obtained possession of it at this later date, inwhich case the manuscript was returned to the familyafter being held, perhaps temporarily, by a non-relative.Bach's autograph has become well-known throughseveral facsimile editions. One of the most beautifulof all his autograph scores, it is remarkable for thepainstaking accuracy of its musical text, particularlywith regard to articulation. As a result, it poses hardlyany questions for a modern scholarly-critical edition.SouncE B (Berlin Staatsbibliothek, Stiftung PreuGi-scher Kulturbesitz, Mus. ms. Bach P 268). Copyist'smanuscript in the hand of Anna Magdalena Bach, pre-pared in or around 7727-28, with additions by theBrunswick violinist Georg Heinrich Ludwig Schwan-berg.8 This source was originally handed down in con-junction with a copy of the suites for unaccompaniedcello, likewise in the hand of A. M. Bach (today Mus.ms. Bach P. 269). A comparison with the autographclearly reveals that A. M. Bach's copy, which was ap-parently intended from the very outset for Schwan-berg, was prepared directly from her husband's auto-graph fair copy, Source A.Souncr C (Berlin Staatsbibliothek, Stiftung Preu8i-scher Kulturbesitz, Mus. ms. Bach P 267). A collectivemanuscript containing, in separate fascicles, copies of7 See Georg von Dadelsen's preface to the facsimiie edition ofSource A (Kassel, 1988).8 See Hans-Joachim Schulze: Strdien zur Bach-iberlieferung int18. lahrhundert (Leipzig and Dresden, 198a), pp. 95-101.XBWV 1001-1005 in the hand of an unknown scribefrom the first-half of the eighteenth century (plus sev-eral later emendations) and a late eighteenth-centurycopy of BWV 1006 in a different hand. This sourcewas owned by Georg Poelchau and entered the hold-ings of the Berlin Royal Library as part of the Poel-chau Collection in 1841. According to a frequentlyquoted note at the bottom of the first page of music,Poelchau discovered the manuscript in 1814 "in theposthumous effects of the pianist Palschau in St. Pe-tersburg, buried among old paper intended for thebutter-shop". Nothing is known about the manu-script's early history. Since johann Gottfried WilhelmPalschau apparently purchased written and printedmusic from the Hamburg music dealer Johann Chris-toph Westphal, it is conceivable that Source C was for-merly a master copy from Westphal's establishment.This supposition is strengthened by an advertisementof 7784, which lists "Six Sonatas and Fugues for Vio-lin Alone" by i.S. Bach under the heading of "Hand-written Violin Solos".e However, as the entry lacks theprice indication otherwise typical of Westphal's man-uscripts, the attribution must remain conjectural.On Polchau's authority, the earlier part of the man-uscript was long thought (e.g. by Spitta and the OldBach Edition) to be a Bach autograph. In reality, how-ever, fascicles 1 to 5 are in the hand of an otherwiseunknowrr and unidentifiable copyist who apparentlybelonged to Bach's close circle. The identity of thiscopyist should be sought primarily among accom-plished violinists. One possibility is Georg GottfriedWagner (1698-1756), a Bach pupil of whom johannGottfried Walther reported that "he cultivated, in ad-dition to the keyboard and other instruments, espe-cially the violin, which he continued to play thereafterduring his studies of theology at the university of thattown".ro Wagner had been enrolled at the Leipzig Tho-masschule frorn 7772 to 1779, during which period hereceived instruction from ]ohann Kuhnau. Variousdocuments inform us that he took a leading part as aviolinist in Bach's church music performances from7723 lo 1726.1r However, the identification of thehandwriting in the manuscript is hindered by the factthat few textual documents and no musical docu-ments survive in Wagner's hand, whereas Source C9 Dok lll, no.789, p.272.70 Dok lll, p. 654 (suppls. to Dok II, no. 324a).11 For more information on Wagner's biography see esp. Hans-Joachim Schulze: "Johann Sebastian Bach und Georg GoitfriedWagner - Neue Dokumente", Bach-Studien, V ed. Rudolf Eller andH.-J. Schulze (Leipzig, 1975), pp. 747-51.I X' 6 - 8 r ' d d ' I I I A V S N o l l q ) r r a g r a q J s r l r r ) a q l u r p u n o J a qu e J s S u r p e r a ^ I l e u J e l l E a s a q l J o u o l s s n ) s l p p u e l s l l p a l r E l a p v 0 z. 8 r 8 0 u , r i l ; : r , : i- r a 8 ) I I I A ' U P r { ) s u e s s l . M > l r s n l ^ l r n z u e r p n l s r a u r l l a g ' u a { t t t p s p u o Ht a p ) a q t a n p s a r y { n u u a i l a m u t H i l w S o p p x p u i l S u n u p r o u t l a \ r s t )- o l s t H : ( l 7 l l - z | l D u a t J " n a + I u o a o t v l w v a u u v u $ s a z u u d D p r y w o t t q- l Q f i s n w : 4 a L l p l w q u a l p w y , r c : l p n ' u q ) s q ) a l g a l e u a u e ^ a a a s 8 l' g t g ' d p u e ( L L Z ' o u u o s l u a r u r u o r ) 9 6 7 d ' ( 9 6 o u u os l u a u u o r ) , l ' d ' i l l o q u r I r l e q r s u o D u o u o q e r u r o J u r r a q l J n { l I' ( 1 9 6 1 ' B r z d r a 1 ) r L ' u a 1 p a s - q : a g ' , , a r 8 o 1 o u o r . , , o " X t * " 1 ; " r t t r t " ' " i: a p u a 8 e r g : a l r e z u o ) s r { ) g u e l l s q a g u u e q o { , , : a z l n q r s ' l - f f S f' y a 1 t s s e q a q l u l u a l l I J M p u e r { U l a r r t l P u . M o p p a s o d- s u p r l { J n l u a l q l u a a l a u r u d F e a a q l r u o q l d u l s n u e r us , l s r d d o l ' ( g g Z a q ) a g ' s w ' s n w l z T r c a q r n l l n ) r a q J s- r g n a r c l 8 u n 1 ; q g ' > l a q l o l q l q s l e e l s u l l r a g ) g a l u n o g' s l d u J s n u e t u o l v qa s a q l o l p a l e l a r d l a s o p a J r n o s e t u o r J r o ' ( f a J r n o s ) s y {u a q l q ] a L I ] ' ( v a r r n o s ) q d e r S o l n e a q l r u o r J d l F a r l p l n op a r d o r u a a q a ^ e r { , { e r u 1 1 ' u l T r a g u r d r e r q r l p f o y a q lo l a J u a r { l p u u t { o s s t r u e u r d a r l o a - I r a l a p > l o o q a r e Ja q l o l a l e l s a s n o r u n q l s o d s I t I l u o r J l 8 8 I u l p a s s e d p u e' , { r n l u a r r { l u a a } a u r u a q } u l I I a r D p J n p g J o u o q ) a l l o Ja l e n r r d a r { l u l p a } e J o l s e . 4 t } I ' } d F x n u e r u s l r { } J o J a u M ol s J r J p u e a q I r J S a q l l n o q u . r y \ o u > l a J e s l l e l a p l e r r q d e r 8- o l q o N ' d r n l u a r q l u a a l q 8 r a a q ] J o p u a a q l p r e r t ' r o 1 f l q e- u n s a r d t a 8 r a g p a r r J l l o D u u e q o { f q l n o u a p r r u v r d d o rl d r r r s n u e l 4 i ' G n a t p a g ' s w ' s n w ' z l s a q r n l l n ) r a q J s- r g n a r d S u n g r l g ' > l a q l o l q l q s l e e l s u r l r a g ) 3 a l u n o g. z ' u o q r p a l u a s a r d a q l o l a J u e l a l a r o u J o s n q ]a r e p u e s u o r l d n r r o r p n l x a l u r o J J a ^ I J a p . { 1 1 u a p r - t a l e q lq d e r S o l n e a q l r u o J J s a r n l r e d a p I J a A a s I E a ^ a J ' l x a l I E J- r s n r u J r a q l u I I P ) I l u a p l , ( 1 p n p r , l , q S n o q l ' s a J J n o s o 1 v l la r { J 6 r , , ' s a s o d r n d S u r d d o ) J o J s o l o s u { o I A s , t { ) g ' S s e qu q r l ) , , : l s r d d o t s n { l o } a q e l a r , { e u r ( O g Z t ' r ) r a 8 r a q u r t ;o 1 J a D a I e u I s s a J u l J d a q l ' ( Q > l r e r u a l S u r s s e d y d r e r q- r l s , e r 1 p r u v e u u v J o s l d r n s n u e u a r { l u l p a r a l u n o J u ad l l u a n b a r ; s r p u r { a s o q m ' 1 g 7 s n o t u f u o u y l s r d d o r u q- r a g a q l d q l n o u a l l r r m r { } o q a r a m d a q l , r ' r a 8 r a q u r l )d d t g q a u u e q o { 1 o p d n d E p u e l e a r D a q l > p l r a p a r Ct o J a l s I S e ' E I S S n J d J o e I F r u V u u v s s a J u l J d J o u o q J a l- l o J J r s n u r a q l o l p a 8 u o l a q a J u o s a J J n o s a s a q l d ' r n 1- u a l q l u a a l q 8 r a a q l J o J I E I { r a p e l a q l u r o r ; s l d r n s n u e u rs , l s r d d o r o l * 1 ' ( q + a g 7 ' g ' t u v ' z l l s a q r n l l n ) r a q J s l g n a r d3 u n g 4 g ' > l a r { r o l q l q s l e e t s u l l r a g ) z + r g i l r u n o s, r ' u o p r s o d- d n s q q l d ; r r a , t o l p a r a l o J s l p u a a q l a d a r r e q S u q r r a , r- p u r { s , > l J l e q J s l } o 3 ; o s a l d r u e x a p a u 8 t s o u ' J a ^ a M o Hg t ' 6 I L I u r l a d e q r l r n o J a r { l u 1 l s l d d o r s r { J e g p r e q- u r a g u u e r { o { p a p a a r r n s o q l v \ ' ( L Z L I ' p ) p l e q r s p o Sl q J a r a q a - I I a n u e u g l s r u e 8 r o u a { l g ) a q + o l S u r 8 u o l- a q s e p u e q a q + p a r l q u a p l d l e u l a q l o d d q s e q a z F q r s' S t d ' , t / l V g N u ! p u n o J a q u e )s a ) r n o s a s a q l J o u o r l d r : r s a p y ' u a q l g J u r a r e l d I o o l P l e l u e ) s l t { l J oa r u e r u r o ; r a d E l e q l p a u n s s . , { 1 a y e s a q a r o J a r a q l d e u l 1 1 ' ( 7 1 1 n T q g )n p a t j t q t ' p l l t ) t p i l f e l e l u e 3 l s o ) a l u a d a r { l J o u o l s J a ^ r o l e t u 6a q ] r o J l s r x a o s l e ( o l l a r ' u o o s s e q ) l s r l d o r s l q t J o p u e q a q l u r s l r e dl p l u a r u n 4 s u r o . ^ l l e q t a r a q S u r u o t l u a r u q u o m o s l e s r l I ' ( z o t ' d )9 l l l V S N p u e ( 9 ? I ' d ) n / t V B N r o J t q ) I r a g r a r { r s l l l r ) a q l a a s 9 lI / I A V S No l l r { r r r a g r a r { ) s l l l r ) a q l J o t t - t ' d d u o p u n o l a q u P r C a ) r n o su r s 8 u t p e a r l u e l r p l a q l I I J o u o r l d r n s a p p a l r e l a p V ' 0 1 - 9 9 d d' ( 5 8 5 1 ' u o p u o ' l p u t u p q r n q ) f u o 1 s r g u o 4 d a t a A u r l p n 7 5 a s a S y: a p n ) s t H p u o f i u i l a x n q a 4 w n 4 o l l o s l d r n s n u a y 1 4 r a g a q l : L u e p tp u e ' I I Z - 6 6 I d d ' ( S S O f ) E I ' l t s t 1 r y h l t o g ' , , o 1 o g u l l o l 1 r o J s e l q r e dp u e s e l u o s s , i { ) e g J o , { d o 3 s , . r a u 1 i a ; a L , : u o s u q s I I a s s n U a a s t I' i g - g , ' d d ' ( Z e e i l U ' 4 t n q t q a t- 4 J n g ' , , 4 $ e g s r a u l l a ) r a 1 a 4 u u e q o { s n e p u q l a u n u E s u 1 9 , , : u o s u r l sI I a s s n U . { q p a p r . t o r d s r a r r n o s s r q l 1 o u o l l d u r s a p a s n a r d y 9 1' 3 r z d : c ' 1 ' a ^ n { ) . r v r { ) P B a r { l u r s a r d o r o l o q d u r p a l r a s- a r d a ; e q r l r { r * J o I P ' f t r f i a u n l Z ) S r a q r a r g u r u o q r s o d s , r o l u P Ja r { l r o J u o l l e ) I 1 d d e y o r a l l a l s l q p u e ' ( 7 Z L I r a q r u a ^ o N 9 1 ) a a l r a w n 1- t 1 J t t n 1 . ) u I l E ' I s n { ' ( 9 7 7 y n q v t a t o 5 6 ) u a n e 1 ; u r u o q r s o d s , r o l u e )a q l r o J u o l l p ) l l d d e ; o : a 1 1 a 1 s , r a u ? e g p a p n l r u l u o s u e d l u o r a q J Z Iu r r q r e o { - s u e H s r ' u a q l g 3 u r p a s o d u r o ) a s r M a { I I ' I Z A r v l ge l l u e ] J o u o r s J a ^ J o u r u r c a q l r o ; s p e d a q l u I p u ee n g l / v g T A M g E l e t u e r u a r { l g ) a r l l r o J s p e d ; o } a s I e u- r 8 r r o a q 1 u r p a r J r l u a p r u a a q s e q l s r d d o r a r u e s s I q I ' l s l- d d o r u a q l o J p d q 0 z l l p u n o r e r o u r p a r e d a r d d d o rl d r r r s n u e y 4 l ' @ g O a q ) a g ' s u t ' s n y g ' z l t s a q r n l l n ) r a q J s- r g n a r d 3 u n + J p s / ) a q t o l q l q s l e e l s u I I r a B ) g a r u n o S' u o q r p a p r r l r n - d p e l o q J s e ; o s a s o d r n da q l J o J l u p ^ a l a J J r s n q l s I a J J n o s a q 1 ' a n 3 n g r o f e u 3a q l w o { S u r s s r t u o s l e a l e s a 8 e s s e d d q r 8 u a l p u ' S t r \ t rJ a u l l a ) a q l u I J a l J o r { s p J l q l - a u o l s o r u l e s r ' a l d r u e x at o 1 ' a u u o t a q J a q J , r ' l s l d d o r a q l f q s u o q u a l J a l u l l u a s- a r d a r p o o q l l a T l I I u r p u e t a n a . r , r o q ' u o q l u e s I P I J o q l- n e s , r { J g r p a q o } , { 1 a 1 1 1 . , { p r e q a r e , , { a q 1 ' q d e r S o l n ea r n u r p u n o J s u o I S J a A a q l u r o r y s a r n l r e d a p a l l l u e l s q n sJ o r a q r u n u a 8 r e l e u r l u o J ' e l r u e d r o u l u r C a r { l u o J Ja u u o J a L l ) a q l p u e s e l e u o s r o f e u J p u r o u r u r D a q lu o r ; s a n 8 n ; a r { l J o a s o q l , ( l p n a d s a ' s a r d o r s , J a u l l a )' p u E z ' s o us e + P u o s a a r q ls e l 4 J e d r u o J J s l u a r u a ^ o r u p a l ) a l a s p u ea q l o l p a l 1 r u l l s I l I s r ' l s l u 8 r o p u e r o 1- u e r u e r 8 u r r m { I u M o D I J I a ^ \ s q } J o u o r l J a l l o J a l e a , u da q l t r r o r J a r u n l o ^ a l l l r a l l o r a 8 r e l e I o ( 7 V T - I Z I ' d d ) a p- r J s E J p u o J a s - . { 1 u a a n 4 a q l s t u r o ; l d r n s n u e u s 1 q . L ' } Z L Iu r r a u l l a ) r a l a d r r u e q o { d q p a r e d a r d d d o r l d r ' r r s n u e r ul e q r e d v ' @ 0 9 c l q J a g ' s w ' s n w ' z l l s a q r n l l n ) r a q J s- r g n a r c l S u n g q g / > l a r p o q q l q s l e e l s u r l r a g ) q a r u n o g' g z L I p u e 9 7 7 1 s w a , { a q l u a a M l a q S : ( Z . d t a l u I p a } e u- r 8 r r o l d r n s n u u r a q l ' u o p n q l J i l s q l l d a r r e a , u ; 1z t ' J a J r n o s J o a q I r J S a q l p a a p u l s e / \ { a q l e q l { l t 4 e u a l; o a a r 8 a p a r u o s q l r m u a s s e u J a . l r l e q l o s ' a J u a p u o d s- a J J o J u a l l l J , t t s , r a u 8 e 1 4 u r J n J ) o o q e ( 5 p u e 4 ' 3 ' 3 ' g' 3 s r a 1 1 a 1 u I l E ' I a q l g e a , l o q e ) s S u r p e a q l u a r u a l o r u p u es a l l l l a t { l u r p u n o J s r u J o J J a l + a l f , I l s r J a l ) e J E r { J a q l J ol s o u r ' g r 1 g ' s r a l ) E J e q J p r r l a q e q d l e . t r a ; , f t a a s u r e l u o Jwith some high passages written in the tenor clef.This manuscript entered the Royal Library in Berlinin 1865 as a gift from Count von Stosch. The worksare arranged for cello without any substantive changesin the musical text, which apparently derives from thefirst edition published by Simrock in 1802.SouncE L (Berlin Staatsbibliothek, Stiftung Preu8i-scher Kultutbesilz, Poet. mus. Ms.31,). Manuscriptcopy of the G minor Sonata (BWV 1001) prepared in7723 by ]ohann Andreas Kuhnau, apparently directlyfrom the autograph. The precise date of this manu-script results from the fact that Kuhnau used the ear-lier form of the soprano clef when copying out thefirst movement.2r The last occurrence of this clef isfound in his parts for Bach's first annual cycle ofcantatas, namely, in Cantata BWV 767 for the Feastof St. john, which was performed on 24lune 7723.Movements 2 to 4 employ the more recent form of thesoprano clef, first documented in 2 july 1723 in theoriginal set of parts for Cantata BWV 747. Viewed inthis light, Kuhnau's copy of the G minor Sonata musttherefore have originated in late june or early julyL723, assuming that the copying work did not sufferany lengthy interruptions.22 It is uncertain whetherKuhnau prepared this copy for his own use or on or-der from Bach for delivery to an interested party. The21 For further information on the evolution of Kuhnau's hand-writing see Alfred Dirr: Studien zur Chronologie der Leipziger Vokal-zuerke lohann Sebastiott Bachs. Zweite Auflage: Mit Anmerkungen undNachtriigen aersehener Nachdruck aus Bach-lahrbuch 1957 (Kassel,1976), p.24.22 Both types of sixteenth-note described by Diirr are found sideby side in this manuscript. However, Kuhnau's regular deviationto the modern form of tail, though not documented until muchlater in his cantata parts, was probably necessitated by the com-positional fabric of the work copied.XIIsource entered the possessions of the manuscript col-lector Franz Hauser in 1833 via the Oelsnitz cantor]ohann Gottlob Schuster. Hauser then made it avail-able to the publishing house of C. F. Peters.23 After thedeath of the owner of the publishing house, Carl Cott-helf Siegmund Bohme (1785-1855), it was acquiredby the Leipzig City Library along with other valuableBach sources. There the manuscript was made part ofthe Politz Collection (the city's music collection) al-though it was in fact never owned by Carl HeinrichLudwig P olitz (1772-1838).21Peter Wollny(translated by l. Brndford Robinson)EDITORIAL NOTEApart from the title of the work, all editorial addi-tions are indicated as such: letters by italics, slurs bybroken lines, and other signs by smaller print. All al-phabetical markings taken from the source (f, p, etc.)therefore appear in normal type. Accidentals havebeen placed in accordance with modern conventions.Further accidentals supplied by the editor at his dis-cretion (i. e. those not rendered necessary by the ap-plication of modern rules) appear in small print.23 The first page of music contains a reference to the "HauserCatalog, No. 404". This annotation was probably entered by Ferdi-nand August Roitzsch, who has been identified as Peters's "firstreader". It refers to a thematic catalogue of Bach's instrumentalmusic that Hauser presented to the publishers and that servedsomewhat as a forerunner to the "Schmieder Catalogue".24 Further details and background information on the prove-nance of this manuscript can be found in Karen Lehmann: "Ba-chiana unter 'Tabak & Cigaretten': Die Bach-Sammlung des Leipzi-ger Verlages C. F. Peters in der ersten Halfte des 19. Jahrhunderts",Bach-lahrbuch, 82 (1996), pp. 49'76.! O S S o X 8 |! 1+, ! 1 O L ! ! L ! K q 1 O O Z8 9 6 1 n9 1 1 V

! b r49 ] 1 7 1 QVO U ` 1 O ! 7, O O ` A / , 81 L 1 O U O S2luaAllegrol\\ .,bJ) ., \ .1at L= LlL /- ]/77Z z``,".. ntt f4 1 ' 4 [ '1 4 `l _ 1 I \ , !(l

t L t , A ! / . ! / . / .Part1ta !BWV 1OO2MolinoAllemanda|',J ."`t4 1 4 A M ( 1` q n o ,1 M:.1 | ` | ^_ ! J Z [1` |.

1`

O 1 S J d` q n O O|

P U Iq | ] IS14Doub1o11. 12, Tempo di Borea? +

||Sonata TBWV 1OO8hfr`t7z!1t ]!] ]

Allegro

Part1ta !!BwV 1OO4ViolinoAllemanda

# ] ]|)]b 1l [l [ 1 ^ r r]] ]] ] ][7 79 t !]] | E]| ]V t tU U U |"

19 [], arpeggio')77l

(

(l i!l.'t ,spcgglo" gehiirt mciglidrerweisc erst zum zwcitcn Vertel. - ,^tpcgglo" possibly bclongr to the sccond crotdrct.

'Sonata !!!BwV 1OO6JUJ ll JJ7

l++++3!l r-- - [ ]4 ] ]] L ]]|})]]] ]

l FJ ! ) J ) L ^r61. D] )7 r`l] 1 | 1191]` ]] ]1|] ]] ]

J ) q J I ) J a ) J+

]+

L'] ] ] ].`trj tr,`` ``

77 .)

Part1ta !!!BWV 1OO6ViolinoPreludiodJ| | ` ` 1 ` ` ` ` ` L ! ` ` 1 ` ` ` ` ` ` JdLJd

Gavotte en Rondeau tr