42

J. S.

BACH

autograph copies of 1720 and1725 are noted. A table of tempo indications

by Bischoff and by Czerny as well as tempi of recordings by Glenn Gould,
Martin Galling, Ralph Kirkpatrick, Wanda Landowska, George Malcolm
and Rosalyn Tureck are listed. The Landshoff-CFP urtext has a fine Preface. CFP also publishes a facsimile of the 7123 autograph with a Foreword
by Ralph Kirkpatrick. See also the fine edition of Steglich and TheopoldHenle. Yale University Press publishes a facsimile (reproduced from the
holograph) of Ihe l{otebook for Wilhelm Friedemann Bach wtth a Preface
by Ralph Kirkpatrick. It contains the flrst version of the two- and threepart inventions. Other noteworthy editions are KMB; Bischoff-K; E.

Fischer-WH; ABRSM; Rontgen-UE; Kreutz-Schott; J. Friskin-JF;

Friedman-WH: and E. Simon-Dover, which contains a facsimile of the
autograph along with a reprint of the Bach-Gesellschaft edition.
Two- and Three-Part Inventions (Georg von Dadelsen-Br 7972), from Vol. V/3
of the New Bach Edition; appendix includes six of the sinfonias in the ornamented form in which they survive in two MSS belonging to Bach's pupils; Ratz, Fussl, Jonas-VU 50042, edited and annotated from autographs
and MS copies; contains charming rhythmic variant of Invention I; extensive critical notes and preface; Lajos Hernardi-EMB; Richard Jones-

ABRSM; Kreutz-Schott; Snell-Kjos.

Anson-Willis, has performance suggestions and ornamentation; Banowetz-GWM 1974, contains an extensive discussion of ornamentation, flngering, rhythmic conventions, tempi; editorial suggestions
in red print, excellent preface. helpful performance suggestions;LandshoffCFP; Pestalozza-Ric 1973; Solymos-EMB 1972, ABRSM-Jones).
Three Two-Part Inventions C, E, F (5.172,177,779) (Ratz, Fiissl, Jonas-VU). Urtext edition plus facsimile of the autographs.
See: Karl Heinz Ftissl, "Bach's Secret Composition Course," PQ,93 (Spring
7976):18-19. A discussion of the Inventions and Sinfonias as Bach's only
manual on composition.
John Satterfleld. "Dissonance and Emotional Content in the Bach TwoPart Inventions," MR, 17 (November 1956):273-81; 19 (August 1958):173*79.
Ruth Slenczynska, "J. S. Bach's Two-Part Invention No. 12-An Analysis
for Performers," Keyboard, 10/9 (September 1984):44-45. Includes score
and analysis on pp.48-50.
TM, Anaiysis of Invention in d, pp.56-67.
Bach composed nearly forty suites for various solo instruments. The best-known
for keyboard are the "French" Suites, "English" Suites, and Partitas.
6 French Salres 5.812-817 (Steglich, Theopold-Henle 71, based on the autographs and copies tn the Notebook for Anna Magdalena of 1725;Durr-Br,
Miiller, Kahn-VU 50048; Keller-CFP; KMB; Bischoff-K; PetriBr&H;E. Fischer-WH;Mugellini-Ric;EMB 1975). The form A, C, S,
optional dances, and G is followed throughout this set.
Srile No.1 d (5.812). Allemande: three voices, requires fine voicing. Courante:French
type, light and fast, contains complicated flngering problems. Sarabande:
Two-Part Inventions (G.

J. S.

BACH

43

pseudo-contrapuntal'
four voices. harmonic. Minuets I and II;three voices'
type; requires precise treatment
expressive. Gigue: unusual slow-moving

of

handled. M-D.
doited notes: l6ths and 32nds must be carefully
Italian type' SaraCorrente:
bass
plucked
Sul/e No.2 c (S.813)' Allemande: duet'
Gigue: two
flowing'
voices'
two
bande: expressive. Air: attractive. Minuet:
M-D'
to
Int'
set'
voices. Technically the easiest of the
Courante: French type' some
Sulre No.3 b (S.81't). Allemande: highly organized'

fingeringproblems.sarabande:interestingcounterpoint,mustbecarefully

balanced.MinuetandTiio:tuneful.Anglaise:attractive.Gigue:chailenging. Int. to M-D.

E; (S.815). Allemande: flowing' easiest Allemande

Siilre No.4

of the set' Cou-

rante:threevoices,graceful.Sarabande:easierthanoneinS.Sl4.Gavotte:
flowing. Gigue: trills reattractive: observe ihe authentic slurs. Minuet:
quire careful attention' M-D'

sulleNo.5G(S.816)(VU51011Mijller'Kahn).Urtexteditionplusfacsimileof
autograph.Allemande:melodiousandexpressivewithphrasingaproblem.
Courante:fastandbrilliant.Sarabande:Romantic:takeplentyoftime.Gabegins on upbeat' Loure:
votte: a test of rhythmic controi. Bourrde: tricky,

flowingbass:needsdelicateaccentuation.Gigue:brilliant;bubbieswith

rhythmic problems' The best

gaiety, a three-voice fugue with technical and
of the French Suites' M-D'

Courante: requires flrm rhythmic

Sulre No.6 E (S.817). Allemande: contrapuntal'

control.Sarabande:richandfullchords.Gavotte:needscarefulaccentua-

tion.Polonaise:nicerhythms.Bourr6e:needsasnappytempo'Minuet:

passages require steady control' M-D'

100' and in 2 vols' 102' 103' based on
6 EngLish SLIle; 5.806-811 (Sieglich-Henle
pupils;burr-Br 5165; Dehnhard-VU 5250060; Bisch-

charming. Gigue:

trill

copies by Bach's

in 2 vols' 45804 and B: Tamiis-EMB: E' Fischerbegin with a Prelude

WH; Petri-Br&H; Mugellini-Ric)' These suites
than the French
imposing
more
and
and are generally o'-t u iu'g"t scale

off-Kl t<reutz-bpp,
Suites.

SrrlteNo.lA(5.806).Prelude:flowing;three-voiced:improvisatorycharacter;
part writing' CouABA form. as are all the Preludes Allemande: complex

rantel:Frenchtype.Courantell:twovariations(doubles).Sarabande:
Bourr6e l: appealing. Bourr6e II: more appealbeautiful ano
"riressive.
inglGigue:uiuuciousbutslowerthansomeofitslivecompanions.M.D.

two-voiced' could be used as a solo'

S&i/e No.2 a (5.807). Prelude: livel-v, mainly

Allemande:stately,moderatetempo'Courante:simpletextures'rhythmic
out in a second version'
ambiguit,v. Sarabande: ornaments are rvritten

Bourr6esIandII:lighterinmoodthanothermovements.Gigue:hasada
capo. M-D.

Srl/eNo.3g(5.808).Prelude:hastheritornelloformofanltalianconcerto'still
withintheAtsAdesign'Allemande:similari'ntempoandcharacterto
ornamentation. Sarabande:
Nos.2,3, and 5. couran1", .u.. needed with the
Bachprovidesbothmildlyandfloridlyornamentedversions.Gavottesl

44

J. S.

BACH

and II: No.II is a musette (bagpipe imitation), play pp on repeat. Gigue: a

two-voice fugue with theme inverted for second half. M_D.
suite No.4 F (s.809). Prelude: opens like a two-part invention, gathers force with
various devices. Allemande: rolling triplets; f,gurative elements treated sequentially and contrapuntally. courante: elaborate and refined. Sarabande:
highly expressive. Minuets I and II: contrasting. Gigue: imitative counterpoint in two or three voices. M-D.
szlte No.5 e (5.810). Prelude: lively, energetic, fugal. Allemande: short motives
treated in various ways. courante: oscillation between pattern of two beats
each divided in 3 and three beats divided by 2. Sarabande: more melodic
than some of the other sarabandes. passepieds I and II: in the form of a
rondeau with three episodes. Gigue: a fugue. M-D to D.
saire No.6 d (s.811). Prelude: fugal passages alternate with episodes. Allemande:
short running flgures pass through various voices. courante: French type.
Sarabande and Double: dignified and expressive. Gavottes I and II: provide
mood contrast to surrounding movements. Gigue: stunning and more exacting technically than the other gigues. M-D to D.
See: Rosaline Cameron, "Bach,s Six English Suites,,, MJ,32 (Iuly I974):6_7.
Serge De Gastyne, "Bach's English Suites: A New Approach,,,pe, 116

(Winter l98l-82):

J.

45

-47

Fuller-Maitland, The Keyboard Suites of J. S. Bach (London: oxford uni-

versity Press, 1925).

James w. Mcconkie, "The Keyboard Suites of Bach:

A consideration of
the Horizontal and vertical Elements Found rherein," diss., columbia
University, 1950.

KLAVIERUBUNG:
The Klavieriibung was one of the few works of Bach that was published during
his lifetime. Its complete title was "Keyboard practice consisting of preludes,
Allemandes, courantes, Sarabandes, Gigues, Minuets, and other Galanteries.
composed for Music Lovers, to Refresh rheir Spirits," and it was published in
four parts by Bach between 1i26 and.I73I.
Part I: 6 Partitas (1731) s.825-30 (pitch-Axenfeld-vu 50166-67; SreglichHenle 28, or jn2 vols.30,31, based on the original edition of li'3I:Jones_

Emery-ABRSM; Engler-VU 5250062; Soldan_CFp in 2 vols.

4463A&B;Bischoff-K; E. Fischer-WH; perri_Br&H; EMB). published

Br5165;

as Bach's op.1, these grand suites have greater diversity than the French
and English suites. The introductory movements vary in each partita: praeludium, Sinfonia, Fantasia, overture, praeambulum, Toccata. The dance
movements become freer, as in partita No.5, where Bach uses ,,Tempo di
Minuetto," and in No.6, "Tempo di Gavotta.,,The standard suite form is
changed in the Second Partita, in which Bach substitutes a capriccio for
the usual Gigue.
Partita No.1 Bb (Palmer-Alfred). praeludium: flowing arabesques in right hand
over steadily moving eighth and quarter notes in left hand; fourth and f,fth

J. S.

BACH

45

voices added to filI harmony at end. Allemande: arpeggiated chords: two

measures before the double bar warns against a too-fast tempo. Corrente:
Italian type, two voices, vivacious. Sarabande: elaborate melody requires a
steady left-hand pulse to maintain motion. Minuets I and II: guard against
too fast a tempo. Gigue: stunning; three voices that look like two; handcrossings suggest Scarlatti;Italian influence. Discreet pedaling advised. M-D.
PartitaNo.2 c (5.826). Sinfonia: Andante section requires careful phrasing. Alle-

mande: two voices, constructed on sequence of descending imitations. Courante: elaborate. Sarabande: different in texture from No'1 but has similar
harmonic and rhythmic structure. Rondeau: base tempo on triplets in bars

86-8T,delightful.Capriccio:brilliant;requiresunflaggingtempo;presents
technical problems greater than any other movement in the Partitas. M-D
to D.

partita No.3 a (S.827). Fantasia: simple textures. Allemande: florid and elaborate'
Corrante: Italian type, light and simple. Sarabande: austere, no character
of a sarabande. Buriesca: slight but original. Scherzo: light. Gigue: three
voices, fugal, inverted second subject, serious and weighty' M-D'
partita No.4 D (5.828). Overture: imposing Grave orchestral opening and spirited contrapuntal Aliegro. Allemande: one of Bach's most moving movements; requires a sustained cantabile line. courante:French type, rhythmic

and fast. Aria: two voices, simple, unhurried. Sarabande: Baroque arabesques in right hand over a steadiiy paced left hand. Minuet: short, simple.

Gigue: brilliant, technically exacting; contrapuntai D'

Partita No.5 G (S.S29). Praembulum: bright and lively rondo, requires well-controlled {ingers. Allemande: weighty and compiex. Corrente: technically one
of the easiest. Sarabande: unusual rhythm, ornament interpretation not

di Minuetto: delicate, cross-rhythms. Passepied: trio has some

difficult ornaments. Gigue:trills pose real problems; digital and interpretative complications. M-D.
easy. Tempo

Partita No.6 e (5.830). Toccata: a solid fugue framed in a decorative improvisatory opening and closing. Allemande: extremely rich. corrente: abounds in
rhythmic surprises. Air: light, delicate tune, full of bold keyboard devices.
Sarabande: transcendentally rich ornamentation, most complex of all the
sarabandes. Tempo di Gavotta: elegant and witty. Gigue: conceals beneath
its mockery and banter recondite and masterly fugal writing. A fltting cli
max to the form as used bY Bach. D.
Bach,s first biographer, Forkel, expressed his appreciation for these suites
as foilows: "This work made in its time a great noise in the musical world.
Such excellent compositions for the clavier had never been seen and heard
before. Anyone who had learnt to perform weil some pieces out of them
could make his fortune in the world thereby; and even in our times. a young
artist might gain acknowledgment by doing so, they are so brilliant, wellsounding, expressive, and always new" (Hans David and Arthur Mendel,
The Bach Reader [New York: Norton, 1945] pp'337-38'
,'Bach's Keyboard Partitas: A set of composer's corSee: Walter Emery,
rections?" MT, 93 (November 1952):495-99'