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EDITIO S

SELECГIO s FROM ТНЕ ОТЕВООК


FOR . А МAGDALENA влен

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EdHc-d Ьу CJ,.ristos Tsjtsaгos

о. SCH1RМER, ItlC.
II!MМo~"'nD
J '--' J. J. J. J.'-1 V J. J..:, .I'\.
PERFORМANCE
'EDITIONS
,

J.s. влен
SELECTIONS FRO MТНE ОТЕВООК
FOR ЛNNА МAGDALENA ВАСН
Edited Ь) Christos Tsit::;aros

Оп Фе ",,\'сг:
А Youl1g La,/y Seated at а \ 'irgilla l с.1670
Ьу Jan Vermeer
(163 2-1675)
© В ridgС I1l .зn Art libпry, Сену Images

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CONTENTS

PAGE 1 ТRЛСК 4'AGE 1 ТRACK

3 HISTORJCAL NOTES
4 PERFORMANCE NOTES


m
L-J
--
Polonaise in G (\'Iino(", B\\'V Appendix 11 9

fl 22
M arch in О M ajor, B\VV Appendix 122

(AltmI~l~
pCrform ~nce)

!\1enuet in G J\.'lajor, В\\'У Append ix 1 14 Me nuet in С Minor, В'\' \' Appe ndix 121

~ ~ 1': ,~ ".-
]2 Ш ~;pJJ7JI ! j ·1 с 1" 24 [1] ? ~ I i I1 I ГГ 17"lr ' · 1
«

&Шi)
(ЛllrnLZlе
performancc)

Mcnuet iл G Minor. в\у\' Appendi:.: 11 5

]4 25

MaN: h in G l\1ajor, B\\'V Appendix 124

16 Ш -t-!, t;
{n
( ! r I (!:..J..- 1 "
1_ _1
'EIiP
~' 26
Menuet in G Majo r, B\VV Appendix 116

1\1 ше Не in D Мзjоr. В\\'\' Appendix 126 Polonaise ill G Мiлоr , в\у\' Appe ndix 12 5

18 Ш %~41lt173N3 ' ~ II .§:$ 23 53 1!

Polonais e '" G l\1inor, 6\\'V Appendix 12 3


i\lenuet in А 1\'l ino r. 8\\'V Appendix 120

20 Ш} ц
30 1 ~

32 ABO UT ТНЕ EDlTOR


HISTORICAL NOTES
ТНЕ MOST FAМOUS КЕУВОЛRD NOTEBOOK

hen Johann 5ebastian Bach (l б8 5 - 1 750) (а co mposer kп о\\' П today largeJy for his Ca l l0 7I i1Z
W mamed his second \vife in 1721, he \vas
already ал established organist, со ип and сЬатЬег
О) . Christoph's book included 5е\-erзl pieces Ьу
his famous teacher, Ьис after Johann Sebasrian
musician, and Kapellmeister. H is пе\\' bride, Ф е had copied it-"'hich he did Ьу Ь:шd and in
twenty-year-old Anпа Magdale na \<\filcke, сат е comple te se crec}'- his b rother im..-nediately
from а prestigious family cf musicians and \va$ con fiscated it.
herself an accomplished singer. In fact, she ,,'зs
employed а! the Сбthеп court, ,vhere her husband Аппа Magd alena's notebooks occupied з рег·
served as court conductor. After their marriage, fect!y ordinary place in her musical life, Ьи с
the couple started right э\\'эу the contents m ake them
ОП а keyboard notebook
ехtгаогd iпзгу. T he fi\Oe shoft

(Clavier-Buchlein in Gепnап) harpsichord su ites that ореп


for Annа Magdalena's р га с ­ the set еуепсиа ll у Ьеса m е
Ьсе. Еуепеиаllу they collected
Bach 's FrellcJt Suite~, so
t\\'O separate books (begun in named for the collection of
1722 and 1725), \vhich are short, stylized dance forms
knoV\.'Il today as the N otebook that originated in France.
/or Аnnа Magdalena Ва с1!. In addition (о other pieces
\\тitten Ь)' Bach, the note-
Апла Magdalena's musiсiал­
ship and work еtШс proyed to books include \vorks Ь у
Ье а уаl иаЫе 355e t t o the Соиреrin, 5tolzel, Petzold,

family; for, in addition (о Ьеiлg and Нasse.Ann 2 "1agdalena's


Bach's principal copyist, she talent 2s а singer is e\'ident in
also provided орроrtuлitiеs, in the num erous songs and
a.-ias, inclu ' tЬe "A.-ia" from те Goldberg
ра" th rough her Keyboard Notebook, for те
v..'hole famil y to make music together. \ L:uia:!icжs, purpo:--...edly her fa\Oori te composition
Ьу Ье" Ьusban~ ТЬе pieces \\'еге hand-\\'ritten
То а rnusic student 300 years ago, а -eyboard Ьу Johann SеЪг..stiап, Annа Magdalena, ог опе of
notebook occupied а central pla ce in one*s music tbeir sons. Ь ис se\-eral of \\' hom Ь есате successful
Hbrary. 5uch а notebook held " 'orks Ьу 2 nиmber com posers. А пиmЬес of the pieces have по
of compos~rs. including c ne's ОКП teacher. ТЬе зuthо г attrib uted to them, but sc holars belie\'e
pieces demonst rated stylistic \'згiеtу in те form mзt Anrla Magdalena о г опе of tlle children
of dance 5uites, preludes, fugues, and chorales. \vrote тапу of them.
Dие to the high cost of printed music, the student
would tran scribe most of th e pieces in сЬе The notebooks undoubtedly occupied а central
notebook Ь у hand . Students \\.·ouId also \yrite place in the ВасЬ family's musical life, and Annа
their own compos itions in their keyboard Magdalena was ргоЬзblу quite proud of т ет .
notebooks, since composition fo rmed а critical She еуеп created а decorative fron t соуег for
раГ! of their musi c t raining. For сЬе most part,
her collection. She gathered the music о\-ег the
th csc ЬооЬ ,vеп: in tended fог use ill tlle Ьоте, course о Е fifteen years, and, al though sсhоlзгs

по! as professional publications.


estimate that the original notebook held as т апу
as 75 pages, sadl)' о пl)' 25 геmз in today. We сап
1.5. Bach likely had his o\\"n keyboard notebook as onl)' imagin e \vhat is mlssшg from history's most
з child, Ьис it evidently has not survi \/ed. Ас а important keyboard notebook.
fairly early age, howe\'er, nе co\'eted hi s brother 's
-Dепisе Pilmer Taylor
notebook, \vhich Ch ristoph had painstaking l)'
collected \\,Ьеп Ье \\'as а pup i! of РасЬе!Ье !
PERFORMANCE NOTES

Т
his edition con tains selected s !югt dances • The use of different dуп атiс s ог articll!ation in
Егот the second of the t\-VO notebooks that the repeated section.
comprise the Notebook [or Аnnа Magdalella Bach.
Тhese include the Menuets апd Polonaises, the • ТЬе al'll'lition of new, ог the modification of
Musette in D Major, and the t\\'O Marches in existing ornaments.
G and D Major. А!I аге short galal1t pieces in
• The use of а m e!odic variation containing
the French high-Baroque sty!e, characterized Ьу
passing tones, modified rhyt hmic figu.es or
а light, often two-voiced tел.'turе and уоса!lу­
interva!s, as \уеН as harmonized cadences.
inspired melodies. Most of the dances аге in Ыпагу
form, \-vith each of the t\\'O sections repeated. Natura!ly, students аге not obliged to уагу the
repeats. However, if they choose to do so, 1 \vould
strongly encourage them to in"ent or improvise
their own variations.
Style and Interpretation
Several stylistic considerations led те to the
editoria! choices in this edition, as \\·еll as to the
interpretation of the pieces in the accompanying
Тетро and Articulation
CD, !\'lost importai1t \yas the character оЕ each ТЬе tempos adopted in the recording are based оп
daпce as expressed Ьу а combination of musical ту personal taste and musica! concept. 1 inyite
ele ments including tempo, articulation, and students and teachers to experiment with а variety
dynamics. 1 have found Саг! P!lilipp Етапиеl of different tempos and moods. The same is true
Bach's Essay оп th e Тrие Ан о[ Playillg Keyboard for the articulation, phrasing, and dynamics. Опе
Illstruments to Ье the most reliable and il!uminating of the more rewarding aspects of studying these
guide to the appropriate interpret ation and exquisite miniatures is the discovery of the
performance of the French gаlлпt style so prevalent expressive possibilities they offer, the wide gamut
in these dances. Тhi s, not only because it contains а of emotion they сопуеу, and the evocati"e р о\уег
\·егу detailed account of specific, eighteenth- and time!ess humanity they епсоmраss.
century instrumenta! performance practices, but
Опе \уау students сап better understand the
because е Р.Е. Bach, !ike Аппа Magda!ena, \yas
уегу fond of Фе French galallt sty!e. "affect" of each piece, as \ уе!! as the most
appropriate m eans оЕ ехргеssiоп in performance,
'П his chapter оп реrfогшапсе, in particular, is Ьу considering the type of dance represented Ьу
с. Р.Е. В асЬ а -а lhe ability through singing the piece, and the re!ationship between its time
ог p!aying to rnа.'е the ear conscious of the signature and rhythmic va!ues,
true 'affect ' [chara er, от se ntime nt] of а
composition," as the рriшму characteristic of а 'П his book Keyboard Interpretation from the 14th to
good performance. Accordin о him , t\yO tll e 19th Century, Howard Ferguson mentions that
prerequisites for such а с = 2.;Jd expressiye the most important point in determining tempo is
performance are the correc- timing and уо ! иmе the prevailing texture and harmonic m ovem ent of
а piece:
with which а !! notes and ет ellislli-ncnts ме to
Ье produced . 'П the same chapter, he establishes
''А piece that is Еи!l of l'Iemi-sеmiquаvе:-s
connections b etvveen tempo and articu!atio , ал
[sLxteenth notes] or "егу complicated
indicates ап indispensable \\'ау of promo in", а omamentation, or опе that has harmonic
trlle musica! understanding of the character of the shifts оп еуегу quaver [eighth note] , is likely
pi ~ce-!i ste rjing to other so!oists :шd ensembles_
to require а comparati"ely slow crochet
[п keeping \vith 18th- се пtuг у p e rform ance
[quarter note ]; while а piece th ~t has по note
sma!ler than quaver [eighth ], little
practices, 1 ha\'e va ried the repeats ill each piece
omamentation, and а change ofharmony опlу
iп th t: гесогdiпg th at ассоmрапiеs t!1i s el'lition.
опсе е\'егу minim [half note], \vill need а
Somc рг i п с i р ! еs of \ ' аг i а ti о п 1 fol[o\\'el'l iП С !lId е:
crochet [quarter] that is comparati\'ely quick."
In choosing appropriate аrti соlа tiоп for tl1e dan ces Iп genera!, both mU5i cally and technica1!y, а
in this еditiоп , опе та у look to the character as staccato tou ch is appropriate fo r longer note
\\'е1l as the tempo of each dance as а guide. ln the \'alues, such as eighth notes. Take, for exam ple, the
opening t\vo-measure moti\fe оЕ the Menuet in G openi ng measures of the Musette in D Major,
Major, BWV Appendix 116, [ог example, the BWV Appendix 126. The broken octaves <п the
string-like character of the first half of the moti уе left-hand accompan iment suggest а stacca to
suggests legato eighth notes, \\'hereas the leap ing touch, v\rmch is mU5ically effecti\'e al1d alsD
gesture of the second half implies а staccato tou ch technically helpful, preventing the hand [гот
оп the last ~yo repeated G 's. tensing '\vhile playing the broken octaves оуег а
p rolonged period (especially [ог younger players).
Мenuе' in G M ajoy; В \\'\' Appendix 11 6, n1m. 1-2 The right-hand 16th-note patterns would Ь е
played legato, \\'ith ап ene rge tic impulse to
produce the desired brilliance.
r Mиs ette in D Major, в\·\,\' Appe:ndix 126, тт . 1-4

These leaping gestures аге found again in the


opening phrases in the Menuet in G Minor, BVVV
Appendix 11 5 and G Major, B'VV Appendix 114.

Further examples of the importance of relatillg


character and rhythmic \fa lues \vhen choosing
tempos and articulation аге found in the March iл The eighth notes in тт. 13-1 6 of the Musette
G Major, B\W Appendix 124, and the March in тау Ье played in а variety of ways, а11 equa11y
О Major, BWV Appendix 122. Both аге in cut
justifiable, depending ироп th e desired musical OJ'
time, and, with few exceptions, th e shortest harmonic effect. The examples below illustrate
rhythmic value is ап eighth note. T hese facts several possible choice5.
suggest that the tempo in both pieces should Ье
quite fast. ТЬе quick p ~ce, coupled with the Mиsette in D Major. В,·"" Appendix 126, тт. 13-16
brilliant and spirited character of each piece, ~A ~ ~
implie5 тоге detached, non-legato articulations, as
indicated in the excerpts belo\v. ~
;/:
~
цt r 1u ЕЕ Щf F' 1-t r е
.
п ,. r-.

.
CJ "'.
1

Ma rch in G M ajoy; B\V\' Appen dix 124, шт. 1-2 Ех. В

~ i; IEP
~g~. ~
10" · IF'. @'- 1
TJOJ
., .

Ех.С

wt ·nР tfet H"11tP 1оШtщ

=
March in D MajoY; B\V'\' Appendix 122, шm . 1-2 1

~~ ёC
е::: :;:
Questions concerning articulation and phrasing

1;; : ; j Ьесоте vastly тоге problematic when ,\\'е apply


som e of the 18th-century rules and conventions
to реrfоrmзпсеs оп modern instruments \\rith
heavier actions. ln the recording of the Polonaise
А, с. Р.Е. Bach states, "ln ge neral, the briskness of
in G Мiпщ BWV Appen dix 11 9, [ог example,
allegros is expressecl Ьу detached notes and the
1 ha\'e included t\VO diffe rent versions: опе, а тоге
tenderness of adagios Ьу broad, slurred notes." But
legato perfor~ance befitting а modem instrument,
he а1 50 adds, "1 use th e word, 'i n genera1,'
and another тоге perc1.lssi\'e performance in the
advisedly, [ог 1 ат \vell а ...уаге that аН kinds
dеtз сhеd таппег reminiscent of а harpsichord.
of execil ti on тау арреа г in апу tem po."
Although both interpretations аге valid fo r
This clarification is particularl y significa nt [ог
different reasons, it \\'ould Ье тоге rea listic ·to
tеасl1егs эш1 performers \V 11O might other\\rise
expect а less-experienced piano student to р,ау
feel compelled to adopt а то ге ri gid stance to
this Polonaise in the legato шапn ег, for th at
articulation based оп а ~i\'en ru! c ог сопvспtiоп.
intcrp re tation шзkеs fe\ver demands о п а
student's technical skills.
Phrasing and Dynamics Pedal
'П th e hands of а kло\\' lеdgеаblе teacher, the The и5е сЕ pedal in Baroque music is ал агеа
absence of dynam ics and slurs in the music of оЕ contгo\'er5Y аmолg teache rs алd performer5.
Bach and his contemporaries тау sеп'е as а I Ьеliе\'е that i! should Ье left to !he performer's
springboard for studепts to de\'elop the sюll of discretion to иБе touches of pedal in order to
making \\'ell-informed choices regarding phrase highlight selected expressive points, \\'ith due саге
stru cture, for m , and melodic and harmonic not to ОЬ5сиге the Нпеаг texture. For the less
analysis. Ву in terrelating those as pects ,,'ith experienced player, ho\\'e\ler, the use of the pedal
сетро, articulation: and character, the student combined \\rith the intricacies ('If textu re and
\у ш gain the experience necessary to handIe fingering in this music тау Ье out of reach and is
similar and тоге advanced pieces from the same best postponed for а later time.
style period.

Several general consicleratiol1s about the music


\vill influence dynami c choices. Some аге listed Fingering
here as а guide:
The fingerings in the present edition аге based оп
Directim, 01 the Melodic иnе three таiл fa ctors:
Оftел, оле са п епНуеп the shape of ascending
• musical content, \\'ith special cmphasis оп
melodic patterns \vith ап еуеп and subtle
articulation and сетро;
crescel1do, and descending ones \vith а
diminuendo. This, Ьо\'\'еуег, is Ьу по means а • technical aspects;
general rule, and опе should Ье eautioned
against exaggerated nuanees. • the estimated proficiency of students likely to
Ье studying this repertoire.
Dissonances
АН dissonanees, sueh as appoggiaturas and Since these short dances аге likely со Ье the
accented non-harmonic tones, should Ье stressed. novice ог younger pianist's first encounter \yith
Вагочие mU5ic, 1 ga\re the last fa ctor special
Fhrase Structure consideration in making fingering choices
ln тапу eases, short sub-p hrases сап Ье throughout the book. 1 aimed not only to
distinguished Ьу varying dynam ie levels facilitate the perfo.mance of gi\len articul ations,
sligh t1y-for example, using ап eeho effect but а150 to promote smooth transitions Ьеnуееп
\vhen а short motive is repeated. ln other positions, in order to create а тоге connected
instances, а larger phrase сап Ье built Ьу the pl1ysical 5ег.sаtiоп of the larger Нпе. Ho\vever,
аррliсзtiоп of а broader and тоге continuous
since these pieces сап а150 sеГ\'е as satisfying
dynom ic аге оуег ал entire period. literature for o!der and adult students, 1 Ь а\'е .
Fonn and Underlyillg HarnlOl1ic Plan
occasionally included parenthetical alternate
The Ылагу dance form, with its eharacteristic fi ngerings that <lге тоге sophisticated ог that
j

require а larger hand span.


11: r~v lll v--+rll Finally, teachers and students а ге е в соuгаgеd Lu
use fingerings that аге 5uited to their О\\' п
harmonic structure, pro\rides excellent techn ical needs while facilitating the projection
оррогtuлitiе,S for dynamic variation. Part ог а 11 of their musical сопсерв.
of each repeat сап Ье executed \vith different
dynamics. The performer should also consicler а
variety of other harmonic elements, such as
stable and unstable harmonies, chromatic Ornamentation
cho rds, and eadenees.
The realization of ornaments in the present
In short, there i5 virtually по hard and fast гиlе in edition is based оп the "Explanation of divers
the selection оЕ dупа miсs and phrasing, and the signs, sho\Ying hov.' to play certain огпаmепts
р !ауег ог teacher is illvited to make choices using nea!I),," ,vith ,vhich 1.5. Bach's Notebook 10r
\\'ell-informed musieal intuitio l1 . Иfilllеlm FriedemCНill begins, and the ensuing
applicatio. с.Р.Е . Bach's Essay он the Tnte Ап о[
Playillg Keyboard [Ilstntmellts sheds add itional
light оп the соггеС"! геаlizзtiоп оГ ornaments and H.lf ог Short Тг;!! (Halb- о' Prall-Triller)
offers some possibIe \'э.гiапts. The dances in This огпзmепt , mепtiопеd Ь у СР.Е. Bach iп the
the present \'olume feature onl y so me of chapter tit!ed ~ Embel1ishments" in his Essay,
the огпэmепts listed in (Ье applicatio, as \уе ll occurs о п desccnding step\v ise rhree-note legato
as the Schleifer (slide) . ,vhich is described in patterns. According to Bacl1, "lt represents in
еР,Е, Bach's Essay. тiпiаturе ап enclosed, unsuffi..xed trill, introduced
Ьу either ал appoggiarura ог а principal note."
Follo,,'i ng is а brief description of the omaments

~Р''У'"'F'm ' о, t~
foul1d il1 (Ье Notebock 10r Amza Magdale"a Bach.

The Тгill "" _ tr J

еР.Е. ВаС}l mentions Фас "Trills enliven mclodies As \Л'itharticu] ation, it is песе ssа гу со Ье
and therefore аге iпdi sре nsаЫе."1Ъе trill invariabIy sоmс\vhзt flexible " '1th ornamentation \\'hen
begins оп Фе tone аЬо\'е the principal note. teaching !ess expcrienced students. с.Р.Е. Взсh
was qLlite sensiti\'c to thc technicallimitations оС
а no\'ice pla)'er, stating, "lt is possible, ...vhen
necessary, [о omit 2ny ... om ament, e\·en ... trills,
Tl1e Longer Тгi1l \.\Iith ог \ "'itI1O ut Suffix and arrange matters 50 thэt easier ornaments тау
Ье substituted Еог them." For examp le, th e ha!f ог
с.Р.Е. Взсh mentions that "The suffix. is omittcd
short trill сап Ьесоте э useful altcrnati"e to the
[гот successive trills and fr~m trills fo ll o"'ed Ьу
usual execution of trills in step\vise desceI1ding
опс ог тоге short notes " 'hicI1 аге сараЫе of
passages, such as tho5e (п [Ье follo\\'ing excerpts:
replacing [the suffix notes] ."
Menuet in G Маjщ В\\'\' Appendix 114, mш . 30·32
March in G Major, В\-\'\' Appcndix 124, тт. 20·22
~~

4 , il
l п soте cases с11 е suffix is \vгittеп out iл the
Mfmuet in G Minor, В\\"-' Appcnd ix 11 5, шm. 9-10
music, leaving по doubt about its use.

Meпuet in А Minor. ю ,'\' Appendix 1 2О, тт . 2] ·23


--,. . . - --:-::::
In the recording accompan)'ing this edition, 1 Ьа "е
choser. to р!ау the simplified \'ersioll iп а11 pl aces
\vhere I ha\'e suggested this а ltегпэti·. . е \'ersion.

Tlle Mordent ~

СР.Е. Bach descnbcs те mordent as' ... ап csscntia!


'"Ti-ills оп !ong notes аге played \\'ith tl1e suffix
оmamепt \\'ЬЁ СЬ connects ПОСб, fШs them оие, апd
regard.less or subsequent step\\'ise descent о! ascent."
makes them ьпШапс. " 1п the dances se!ected here
Menuet in А Mi1lor. В\\Г'\' Appendix 120, тт . 27-2 8 from the Noreoook for Аnпtl MagdalellQ ВщJ~, ,,'е
encounter only те short mо гdепt.
gg t±:::

{= :
"
1 :: 11 Thc Арроggiэtuга

с.Р.Е. Bach mentiol1s that "ApPQggiaturas <lrc


among the most cssential embellishments. Thc:'
e nh<lnce the harmony as \\'сll as thc melody [апd
they I modify chords \\'hich " 'ould Ье too sin,ple
'.\'itllOut tllem."
Regarding th e duration of appoggiaturas, Bach Menuet in G Major, В\\'\' Appendix 114
explains, " ... they ta ke from а folIo\ving toпе of This minuet is similar in cha гacter to the Мепие!
duple length о пе half of its va lue, and [usually ] in G Major, B\VV 11 б. ТЬе first four measures
t\\'O th irds fro m опе of triple length." сап Ье grouped effecti\'ely iпtо а si ngle large
ph rase wit h а sweeping dy namic сигуе th at leacls
March in G Major. B\V\T Appendix 124, mт . 12-1 3
to the high G in т. 4. This is the only minuet in
the series in which the В section begins оп th e
Tonic chord.

Menuet in G Minor, В\\'" Appendix 11 5


The quietly sad and tender character оЕ th is
minuet, v,/ith its descending, step\vise melodic
gestures, requires а deli cate touch and skillfu!
Мепuе! in G Major. В"\'\' Appendix 114, тт. 7-8 phгasing (о shape the melodic conto ur. In т. 31,
1 opted for з simpler, t hree-note ornament,
despite Фе fact that а four-note trill arguabl y
.i
{~ ; :
I i
,vould Ье stylistically т оге correct.

i
1; с
~

: r March in G Major, В\УУ Appendix 124


Although not explicitly indicated from t he start,
two voices сап Ье traced in (Ь е right-hand part
Veгy importantly, с. Р. Е. ВасЬ mentions that, with in the орепiпg measures. In keeping '\vith the
regard to their execution, ".. .appoggiaturas аге voicing iп тт . 2-3, опе соuЫ en\'ision ап up\\'ard
loucler than the follo\\'ing to ne ... " ап important stem оп the first eighth note in the opening
expressi\'e detail often overlookecl Ьу less measure. If this march \уеге orchestrated, the
experienced players. repeated eighth-note G 's in the lo\ver voice could
Ье assigned to а peгcussiv e instrument-perhaps
ТЬе Schlcifer (Slide) --- а taтbourin-and the uррег voice: to а melodic
Used rather rarely, the slide helps to ЫI in а leap опе, such as а flute ог violin. Т\уо elements арреаг
and consists of two notes that аге played before in the left-hand part also. Rhythmic repeated
the principal опе. eighth notes in тт . 1~ 2 imitate the right-hand
part and expand in тт. 10-11 and 14-15.
Меnue! in D Minor. В'"'' Appendix 132, mт. 5-6
А contrasting moving Нпе begins in т . 3 and
alternates throughout \\'ith the first element. ' Е
огсhеstrзtеd, these could Ье assigned to percussi \fe
and stringed instruments as \уеl1. En\'isioning а л
orchestration such as this mау lead students to а
; I то ге vibrant interpretation of this li vely piece.

Musette in D Major, В\·\'" Appendix 12б

The duple meter and the absen ce of


The Individual Pieces ornamentation in this piece suggest а quick
Polonaise in G Minor, B\VV Appendix 119 tempo. Опе сап imagine Фе left-hand part played
Ьу the тusette, Фе Fren ch bagpipe, resul ting in
Majestic in character, this polonaise cal1s for
the so-called "drone" effect. А staccato articulation
experimentation \\fith а va riety of dynamics,
ОП most eighth notes in t he piece will соп\'еу the
articulations, an d tempos. А portato touch оп
"drone" and somewhat nasal quali ty that wou ld
q ua rter notes \vill emphasize the rhythmic
result if the piece were played Ьу а co mbination
element, whereas а mixtu re of sta ccato and legato
of period wind instruments and а tambourin.
articulations fo r eighth and sixteenth notes will
lighten th e se rio us characte r of the piece Menuet in А Minor, B\·\ТV Appendix 120
some\vhat. Noteworth y аге the \vedg~ st-:lccato ТЬе can on-like imit<l.tions at the beginning of this
marks оп th e quaгter notes in mт. 11 and 13, m inuet с а п Ь е con \'incingl y rendered Ь у
denoting а hea\'ily accented, sharp attack. exp ressively accenting the anacrusis (upbeat) а!
th e beginning cf each sua-ph rase (for exam ple,
beat З , т. 2).
1 have recorded this minuet ГNicе to illustrate Мспие! il1 D Minor, B\ V\.r Append ix 132
tl1e use of both measиred and unmeasurecl trills The sup ple, sinuous ri ght-hand me10dy blends
in mm. 21 , 23 , and 27. For Фе left-hand trills in perfect1y with the angu1ar left-hand lines, \vh ich
mm. 22 and 24 , 1 used а simplifled trill similar often move in contrary motion to the melody. The
to tha t mentioned еагНег. This five-note trill В section, with its broad leaps of а te nth signaling
undoubtedly \уiП prove easier for the novice player. а character change from seriousness to optimism
and light, should Ье executed \vith а generous,
March in D Major, B\VV Ap pendix 122
well-balanced sound.
The сhапn of this march 1ies in the rhythmic
vita li ty that results from the metric accent in the Menuet in G Мзjоr, B\\ТV Appendix 11 6
left hand and th at of th e syncopation in the right ТЬе repetition of the t\\'o-measure motive in the
hand. C risp staccato eighth notes in both hands in beginning of the piece suggests the use of terraced
тт . 8 and 21 \vill evoke а trumpet sound dynamics. At the same time, the octa\'e leap in
accompanied Ьу а military drum. Because of thc;> тm . 2 and 4 imply ап agile dancing gesture Фа!
quick tempo and the intric ate coordination is best achieved using а light staccato touch. The
bet\veen the t\\'O hands, 1 \vould favor using the В section provides wonderful opportunities for
same finger оп th e left-hand repeated notes in fine dупзmiс shading, with its shift to different
those measures. registers and its inventive harmonic scheme.
Menuet in С Minor, B\\ТV Appendix 12J Po lonaise in G Minor, В\"", Appendix 125
Beautiful ascending )jnes and ап аЬипdзпсе of The two opening unison phrases and the doubIe
chromaticism make this minuet опе of the тоге notes in the ensuing measures sugge.st ап
interesting and origina! of Фе entire group. It is imposing piece full of regal grandeur. The exceгpt
possible to divide the opening ascending phrase into below suggests possible articulations.
antecedent sub-phrases, which сап Ье articulated
with а sUght emphasis оп Фе second beat. mm.1 -4

Slffil1arly, lt 15 posslble to group тт 17-2 2 into


three t'\vo-measure phrases, еасЬ опе dераrtшg
from а sligr,t1y higher dynamic 1eve1. The final
phrase (mт. 23-24) effectively re1eases the 'П the repeat of the initia1 motive (mт . 9- 10). the
tension built ир Ьу the chromaticism of the three opposing lТtotion of the lcaps bet\.veen the third
previous phrases. beat and Фе preceding eighth note is а splendid
surprise, \.yorth highlighting \vith а strong
тт . 17·24
expressive accent оп the third beat.

~::::; ~ 1'::: 1:= а::: 1; _


!;
~:'::; ,= 1:=:, :1 Ап inve ntive approach (о the left-hand
articulation will add Hfe and interest to the
sequential character of тm. 17-19.
Роlопаisе iп G Мiпог, B\VY Аррепdiх 123 ТаЫе of Suggested
The bold character af the iлitiаl right-hand statement
Тетро Ranges
features the typical Polonaise rhythmic motive.
lt retums in the left hand in rnm. 9-10 and тау
Ье еП\1ал,f'n Ьу tlsing а
staccato-legato аrtiсul зtiоп. Title Suggcsted М.М . Range
ШШ . }·2
РоlО1шisе
in G Minor,

~iВl, I
BWV Appendix 119.... . ... J = 66-76

Melluet i,1 G Major,


ln contrast, the same rhythmic figure in mт . 3 B1W Appendix 11 4 . ... ..J = 104-120
and 7 saunds тоге natural played legaco.
Menuet in G Minor,
виrv Appendix 115 .. . J 80-96

March in G Major;
The parenthetical fingerings in тт. 16- 17 ensure Appe!!dix BWV 124 · . .. .. ... J 44-54
а уегу smooth legato between the t\VO voices in the
right hand. Far the left-hand li ne in тт. 15- 16, Mu.sette in D Major,
the articulation sho\vn Ьеl0\"" \\,Ш proYide а виrv Appeпdix 126.. ... .. ..... J = 69-80
great deal af rhythmic interest and stability,
suggestive of а stringed iпstruшепt, such as а Мепuеtin А Minor,
ио/а da gamba. BWV Appeпdix 120 . .. . . .. . . . J 84-96

March in D Major;
B1W Аррendа 122 · ........ J 63-72

Мепuеt
in С Minor,
BWV Appendix 121 · .. ... . .. J = 76-96

Мenиес in D Minor;
ВИ1V Appendix 132 · ........ J 104-11 2

Menuet in G Majm;
виrv Аррendа 116 ... J 108-1 20

-Christos Tsitsaros Polonaise in G Miпor,


BWV Appettdix 125. .) 60-72

References Polonaise in G Minor;


Саг! Philipp Emanuel Bach. Essay о" the Тrие
B1W Appendix 123 .....•.. .. J 60-72
А п о! P!aying Keyboard I"sc",,,,encs (Ne\v Yark:
WW. Nortan & Са тра пу, !nc. 1949, edited and
translated Ьу William 1. Mitc hell)

1.S. Bach. N ocebook for Will1e/m Friedemann Bacl!


(1720) Ncue Ausgabe Siimclicl,er 1>Verke
(Wolfgang Plath-Br).

HO\vard Ferguson. Keyboard Iпtеrрrеtаtiоr. from


che 14ch со cl1e 19ch Сеnttlгу (Ne\\' Yark and
London: Oxfo rd Un iversity Press, 1975)

Кагl Geiringer. Johmm Sebastian BacJ!.


TI1e Cu {millatiol1 о[ a/l Era (NC\v York: Oxford
Univcrs ity Press, 1966)
11
Polonaise in G MinQr
Composer Unk110\\'n
BWV Appendix 119

1) I 1 .- 2
"~ 2 2 1
(3)
2 ..
5
1 ~
2
~!
1

,
2

,
I
--=
.. , I I Т
,
1 5 3 I 1 4 2
5

5 1 3 4 2
,~ 2 1 3 5 4 1 4 2 1 l 3 2

<
• ....- ---== -
• •
1 3 2 5 2 - I
4
1
4

9 2 3 4 1 2 3
I 2 1 3 3 1 f f f 2

• - I -.,;- •
I

5 1 4 3 1, 1,
3 2 2 2
3 3

13
I
5
f
4
f f 2
3 5 2 .. 5 2 1
г-;:::::::;
3
1 1

• - ~

4 3 I 2 1
2

Copy right © 2005 Ьу G. Schirm e r, Iл е. (ASCAP) Ne \v York, NY


International Copyright Secured АН Rights Reser\'cd
\Varning: Unauthorizc d repcoduction оС this pubIication is
prohibited Ь у Fedcral law and subject to сгiшi паl prosecution.
12
Menuet in G Major

Christian Petzold
BWV Appendix 114

... 5 1 2 ,(
• 1 - ::. ,.5 1 2

4 2 3 4 5)
( 121

f} . -(7.
.. п п.

1
3
5

;1 3 4
J

5
... 3 1 2
f
f (3; )
I

~ ,. ~ ,.
t ··
~

1
5

9
r .. • ,.
j .~

,. ,. ,.
l
-(7. ~.
о

2 4 2 4

... 3 1 2 3 1 2 3

r I

,. ~

t
~

·
2 1 2 1 I 1
5
13

17 4 3 4
f'- ~ 11- ~ 1 ~ .- 1 3
" ,
"-'"'"
J

:
3 4

21
3 1
- 1 3 ,
"

: - 11- Н .... 11- ~ Ь ....

l' 3 1 2 I 4 2 1 1 2
5

25
5 1 2 1 5 1 2 1 5 2 1 2 3
,
,
~ I

~ : 11
t - -G- .... - f'-

3 2

434 3 ]4 3

29
=00= 0' F ШJ
J J
5
2
3 , 1 3 1
'"'

.
"

: : I
, I
-- -z: :

1 3 1 4 I 1 1
5
5 4 2 2
- 14
Menuet in G Minor
Christian Petzold
BWV AppeHdix 115

с .f'-
4
...- • ...- , 2 ~

..
. ('-~~

2 I 4

t2 1 3 2)
2 1 2 1
J

jjfJ .I
5
3 2 , 2 3

о п .f'- ...- •
~

3
5
4 3 5 , 3 I
5
1 ,

3 2 3 2 2

ШТ оr гс е [
J J
9 4
.f'- ~ • ...-4 1 2 ~

\
) .f'- ~ ".
\. I
2 1 4

(2 1 3 2)
3 2 3 2 1 2 1

13
Е!Е 4
2
• 1 3 ...- '1

r t ~.

, h~ ~
• •
\.
I 5 2 s 2
3 4
lS

17
r-. I 4 2 1 1
• ~ f'- _ ~ f'-
- #-
- #-

<
п.
,

2 3

(2 3)
21 4
1 5
f> , 2

U
, г I

f'- #-

I 2 .
,

25 525 4
~ I 1 4 I I I I I I 3,

<
-
M~: -,9-'
• f'-
. ,
1 3 2
3

3232 3 4

Шj U ос EFF r f ог Ь!;" а
5
29
1 1 ., .... 1 3
2
1

<
-, I .z::т:

I I 3 4 I
4 2
1&
March in G Major
с. Р . Е . Bach
BWV Appendix 124
4
, 2 3

" 5 1 2 1 2
~ Y1 l~ 1 , 1 2 ~t-, ~п i. 1 3
5
"'~",,
I 1 l'

. . . -
3 5

4 3
• -#- .:. • 1 2 1
5
2 1
4

-,- l

,
Т
3 14. - 2 4

i! ,
7 4 4 2
3 2 4 2
tr 3 Г
"
I '-'

. ~

' 3 2 4 4 2 2 4 5
--
3 2

(3) (2)
10 5 2 5 5
, н
I 1

~
3
~ ~ ~ ~ ~ -.i -.i -.i
4
.... 7f .... .
17

-~ 5
/3" u = =
"""
, ~
(3)
2
5
(2)
1 ~ l
1

~ , ~

,.
2 1 5 3 4
"

16
.\ 1 2 3 5 3 u 4

=f
#-
: -
1 2 1 , 5 3

19" и (3
2
2
1
3
2
1)
1 4
• 1 3,......:. ь; 1 4 1 4 ,
,
о) ;..J , -.r-.r -.r
'" "СУ

..
4 3 '1 --t5 3 l' , 4
18
Musette in D Major
Composer unknown
BWV Appel1dix 126

(2) (1 4 2 1)
,.,» 5
~
• ~
• 3_ 2 ...... 3

~ -
,...-, .---"\ .---, .---,
.
11
5
11 11 . 3 2 -:-
4 ~.
3
(2
,
4)

(1 4 1)
5 5 (2)
5
1
» ~
• ~ ~ 3 2

~
..,

-"
5
,........,
-.. . - ..- 3
,
- I

9 5
~ " 2 ~ ~ ~ 1 3 1 3'r----

- - -
r--i

L-J l-J L- L-J L..-.,; L- l.....- ~,


5

(3) (3)
13 4 4
5
5 4 2 5 4 2
19

I7
"~ 4 5 2 I 4 J I J 2

U
-I • ... ~
J

~
~

... ... .. I 3 2 5 2 с:::::.-


3

21
"" .,. .- .,. .-
- ...
-
и •
,.---, ~ -----, ~-

... ... ... ... - ---...

25
" .,. .- .,. .-
- -
... •
<

...
,.---,

... 1I 1I
- - I
20
Menuet in А Minor

Composer unkno\vn
BWV Appendix 120
1\ I 2
<.--::1 5 ,
' ------
I

. ,. ~ ,. 1- ~---- r~ r~ !'- ~ ,.

,
5 2 1 2 2 4 3

5
~ ( 4 " 4 , /
~

" I
, I

-
"
2 3 3

10
3 2 2 5 1 2 1 2

• -=

2
, I
3
I I ... 5

14
f\ 1 ;. -------- ,. ,. .---------...-
5
-" - 1 3

--..т

_. L~ !'- ~ ~
~. '~ ~~~!'- 1'- __
- ~

2 1 2 - 4 3 2 5
21
.\ 2 I 2
,r ~ .' с_ е' ,1-- ; ±- ~
F
f-

19
4
"
I tr
" .. ~ - ;.
32
tr
Н ...
" I
..
tr . 1.

2 4 3 I ~ 4 3 2 ~ 2

13 1 J 2 1 J 2)
J 2 1 2 1

R'Т!' F
EEJ I I
24 3 5 3 2
j>- 1 ~ 5 1 tr

tr ,
.
I
2 4 I
3
, ...
22
March in D Major

, с. Р.Е . Bach
BWV Appendix 122

u 4 3 1
- .- -
........ ........
<
~-

I
4
-, I -,
3
, I 2 4

4
ti .2,- -":' 3
-~
2
5

<

~ ~ ~

... 5
I I у ~ I -.1 ...;- I -.1
5

3 2

Щ Г i гr
7

. .. ., 2 5
;,..
tr
---
4 I 4 1 2 3
"
~

I
<

:2
4
•2 ...
4
~ 1 3 5 2 1

10 4
.- I # Н_ #- Н_
#- "-
1 3 4
.;. 2

--.
, .f'- .- - .fII.- #-
- #-

4
23

J:!
3 1 1 3 1 2 ;. 1 2 1 3 •
...
5
2 1 2


{ f'-

.....- , 2 2
J.I

2
5

16 3
5 4 3
() ~ 1 ;. f'- ... • 1 3 2 5 2

{
о)
~ I I


I 3 3 1 3 5 3
> 4 2 3
(2) 5

19
() J.I 3 1 1 . ... 3 1 2 3 1 2 4 1 2 ~
5
~' .

{
о)
~


2 3 4 3 '5 "t
(5)
-.1 -.1 -.1 -.1 -.1 r 2 '1
24
Menuet in С Minor
СОП1роsе l" unknown
BWV Appendix 121

l~Z • •
: . ~ r г r i;- r
, 12

--.
, 2 1 3 2 . .
4 3
- tr
~' А
3
-------

4 4 I 4 1 3
(2nd: 5)

5
-- 4 ,. 2
___
1 3 ..-----.. 4
.. , 2 1 3 2 1 3 4

• -...J

3
• 3 4 3 •

(1 3 4 3 2 1)
9 4 3 5 4
3~ 2

..
2 1 2 2

~
~.
1

, з1 1 , 11 21
,
I 1
5 4

(1 3 4 3 2)
14
, , 1 2 3 3.2- 4 2 1 2 1, 4

--. 1 ....
·0
I I

I 4 I 5 I I ........ I ,
3 3 3 4 3

19
, 1 2 1 4 1 2 1 ~3
5
;;. 1 L4

--. I

Т 3 , ,
3 2 3 4 - 3
Menuet in О Minor

Composer l1nkno,vl1
BWV Appel1dix l Л
(3) -
2 3 5
1, 5 1, 3 2 1 2 1 I 3 1 3~ I

1
IП'" •

I , 2 I 5 Т 2 -.1 I
5 4 3
(2nd: 3 2 1)

, ,
~o" гс:
6
-- 3 2 1 3

...
1 2 3

2 1 4 • 1 2 •5

10
....
5
.. ~- 5 .---...
1 Г J
1-' I
,
5 3 2 I..-J 1 5 1 2
4 5 2
(2nd: 1)

(5 4 2 I 2)
14 4 3 2
1 1
4
1 ~~ ,,1 4 2 3

н_ I ~

I
, 3 5 1 2 1 3 2 1- -.5 2 1 2 1 2 -.г
2
5
26
Menuet in G Major

C ompose l" ul1kn O \V!1


BWV Append ix 116

"
I
I

I
3 I • - -
I I I

I I I I I I I I

I ,4_
- , I 4
2

5
"
з
- ! 4

3 3 4 4 5 2
4

9
н ! 3 ! 4
-
I I

I 1 I I 1 I I I I
-
. ~

I I 4

13 (2 3 4)
н 5 5 3 4 5 ! 3 4

гi
"-r
.,
3 , I
2
3 I I
2
-
l~
J
~ >1 • • 1

.
{
1 I

• , •
'1 12 • 1 2 ~
'. 2 I
5 3 2
4

21
>1 •
• • 3 1 2 3 .~1 2 J 2 3 •
,
{
I J I

• •

3
2 - з 2

25 4
5 3 1 3
~ з 4

, - •
,

5 1 4 1 4 3 2 1 2 -.1
з

29 4
>1 1 5 1 3

, - - - -
{
I

-
2 I 1
2 4 4 4

33
fI >1 • ..
{
f.) I I I I I

I I I I I I I I I I

I 1 4

37
fI >1 5 5 3--"4 1 3

-
{
f.)

, I I I
3 2 4 3
2 2
2~

Polonaise in G Minor
с. Р.Е. Bach
BWV A ppel1d ix 125

, 2 4 4 3
(2)
I
, 4
4 3

• •
4 2 2 3 ; 4 2 3 '.,
(4)

5 4
3
. .1. 4 t
3
I
2
3
I
2
[
,
3
4
[ 3
2 1
, 4 4 -
( ')
[


Г
I "[ I
(3 1 ,
4 5
2
4
1 ~ )

. =
I4[ 3 '2
3
2 4
2· I 2 2 3 5
(4)

5
6 4 4 4 2
1 I I 2 I

'1 '7

• ~
, r--

4 , "5
I[ 3 2 1
"'!5 5 4 , 1
4

5 4 4
9
2 3 2
,
5
,;; 2 3
,
5 3
~ j 'j\
3
'rl
2


~I'- ~
,

#-fL ~ ..
,
---
3 , ,. 3 , ,
5
... ,
29
.j
12 3 2 3
1..--=::::1 1

2 3 1 5 2 1 3
3

2
3 1
3 4 3 4 5
15
D lr г J
2
11 Г l
2
1 1 1 3 5 4

....., I
I I b::-J 6u
- "- 1 #- h_ ~

5 ~. ,:О; 1 4 3 1 3 1 2 1 2
~,
, 2 1

18 1з5 1 3 5 3
"Fi1 I==n 4 .~
-=п 4 1 4

• " •

-. -~ b~
-- f-
2 1 ~
2
1
3
r ~1 -r--------r-

21
I ~_

~ ..... 1 1 1 l

• '-J:::I I

r-=
L '1

r--
• , •
I
I .
зu

Polonaise in G Minor

с.Р.Е. Bach
BWV Appendix 123
5545545-
5
2
5
2
4
1 )
5
1
4
1
5
1 2... 1 1 2,. 1 1 1 1 1
(~ J;;j 1)1) 1Л1]"'j1J:j

(1 3
1
~)
1

-
4 I !!] ..". I 5
(5)

5 3 4 2
1 1 2 3 1 4 3
4
J г=;'А
2~
г---;, j ы} JЛ)
/'}

tJ
I

'---1 I.....J r
-
1)

I 11" ..;- I

434
1 1 1
7
1Л1ЛJ.J:j }2 4
ц}

~ .f*-
1 ~

f*-
--
з 1 2 1 4 L ~J ~
1 2
3 4

5 4 5 3
(~ )
~1)
3 1
2 4 (1) 4

тn
(1) 4 з
10
lг-l
2 2 2 1
~l
-
.-
I

"
"
~.

"L L S ~
,
3
, 4 3 4 1 4 1
,

'г Т ~ J J
I I 2
2 3 3

2 з 4 3 2 з 4 4 2 4
4 2 (4)
( 1)
(34
U
5 з4
,- 4

nn
4 3 4 1 2 1
3
15 2 4 3
Г (4) ~
- - Т

I I ~ .......
~2 IL ~
21 2L
1 2 1
<
I I I Т I

--..
1 l r 2 4 ~ 2 1 3 4 1 2 4 1 5
3 4 5

4 5
5
1 ,
5 4
1
5
1 1 1
181\ ,
4
1
3
1
4
1, j J-;i) JЛ)

,
lj 1:УI (1 3 ~) (1 3 j)
1 1

I I I 4 1 !f~ -,; I
4 2 2 4 5 -
(, )

5545545-
2 1}2 111 j4 5 3 4 2
1 1 1 2 3 4 3

21/\ , 1 J==:J 1 Jj J 1:9 J 19


l~

2
А j J7i)
,

iJ '-J L.....J ~

с1
3
1 1)
. -"""'
.
I
5

и
J7j) 1ЛJЛJJ:i ) 2 4

......, • 1"- • 1"-

11" -.J I 3 1 2 1 4
ABOUT ТНЕ EDITOR,
CHRISTOS TSIТSAROS

Christos Tsitsaros, ~ontri bu ting CO tl.lpOSer <lпd Diploma and а Master of Music degree (1989),
arranger for the Hal Leonard Student Piano and subsequently entered the School of Music of
Libтary, is
Associate Professor of Pi ano Pedagogy the University of IIl inois \уЬеге Ье attained а
at the University of Illinois. Не was Ьоrn in Doctor of Musical Art:s in Piano Performance
Nicosia, Cyprus, and receivecl his first fопnаl (1993). 50ОП after, he joined the faculty of the
instruction at the Greek Academy of Music. At the Piano Pedagogy di\'ision of the University of
age of 13, Ье ,,'оп first prize in the National Illinois at Urbana-Champaign. Ог. Tsitsaros i5 also
Competition of the Conservatory of Athens. In quite active as а CClmposer, h aving won the
1979, he moved to Poland \vhere he studied а! the composition competition of the National
Frederic Chopin Academy in Wагsэ\v under the Conference Оп Piano Pedagogy, \vh ich launched
guiclance of Prof Jan Ekier. Аs а result of \viпniлg ап ongoing relationship \vith Hal Leonard
the Gina ВасЬаиег lnstitution Competition in Corporation. ln 1998, Centaur Records released
Athens (1981), he continued his musical studies his first 'compact-disc album containing selection$
in Paris and graduated fгош те Ecole Noпnale de of his original piano works, and in 2001, Ье \\'а$
Миsiqие de Paris \ . . ,ithin а уеаг, obtaining the artist-in-residence at the H e lene Wurlitzer
Diplome Supeтieur d'Ехеcutiоп \\'ith distinction . Foundation in Ne\v Mexico. Не has participated in
VVhile in Paris, Ье studied \\lith pianists Aldo various \\!orkshop5 and conferences as а performer
Ciccolini and Jean-Claude Pennetier. In 1986, а and lecturer, and has appeared as soloist, recitalist,
scholarship from the А. G. Leventis FOl1ndation and chamber musician in Еигоре and the United
enabled him to study "ith Gyorgy 5ebok at the State$. Не gave his New York debut recital at Weill
School of Music of Indiana University in Carnegie НаН in 2001 .
Blooтington, Incliana. ТЬе ге Ье received ап Artist