johann sebastian bach sonata in c bwv 1005 · 2021. 3. 8. · compositions bwv 995 – 1000, and...
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Johann Sebastian Bach
Sonata in C BWV 1005Partita in D BWV 1006
Arranged for Baroque Luteby
Wilfred Foxe
TREE EDITION
Johann Sebastian Bach
Sonata in C BWV 1005Partita in D BWV 1006
Arranged for Baroque Luteby
Wilfred Foxe
© 2011TREE EDITIONAlbert Reyerman
To David van Edwards
Foreword
The Sonata in C BWV 1005 and Partita in D BWV 1006 were originally composed forunaccompanied violin and form the final examples of three sonatas and three partitas,BWV 1001 – 1006, Johann Sebastian Bach composed in 1720 whilst he was in theservice of Prince Leopold of Anhalt Cöthen. The realization of both works followsthe practice outlined in the appendix to the Partita in D Minor BWV 10041 and, aswith all such arrangements, it is advisable to consult the original score2.
The Sonata BWV 1005 sits beneath the fingers so well that it might have been composedwith the baroque lute in mind. The fugue is also amongst the longest Bach composedand, at over 350 bars in length, is significantly longer than the 231 bars of the mostexpansive fugue for organ3, ‘The Wedge’. The Partita has been transposed from E and,even though Bach made an arrangement of this partita for the lute, this tonality israrely found in compositions for the lute.
Setting aside consideration of the instrument intended by Bach for his arrangement4 ofthe Partita as BWV 1006a, the texture of some movements is clearly a consequence ofthe harmonic limitations of a bowed instrument. For a composer of Bach’s calibre,however, such limitations may transmogrify into artistic opportunities. Nonetheless, itis questionable whether these benefits are retained when the instrument is changed.Consider the following examples5 from Minuet I, BWV 1006.
Although both versions are effective, the music of Example 1 played on a bowedinstrument is more resonant than when played on the lute. Example 2 presents thesame music using a texture more frequently employed on the lute; here tenths havebeen substituted for the thirds of the original. This process mirrors some of the changesmade by Bach when adapting for the organ6 the fugue from BWV 1001. Similarprocesses have been used regarding the Loure and these are shown in Examples 3 and4 below.
The approach adopted when producing the arrangement of BWV 1006 has been tofollow the processes outlined in the Appendix to the edition of BWV 1004. Bach’sreworking of this as BWV 1006a has been used as to guide the prolongational techniqueswhen moving from the middleground to the foreground. Some passages frommovements of the Partita, in particular the Gavotte, contain quite striking differences1
from the corresponding parts of BWV 1006. The example provided by Bach in hisadaptation of the fugue from BWV 1001 as BWV 539 has also been used as a touchstoneconcerning the changes in texture of some movements, in particular, the Loure andMenuet I.
Wilfred FoxeRugbyFebruary 2011____________________
1 Tree Edition, 2007.2 Johann Sebastian Bach, ‘Drei Sonaten und Drei Partiten für Violine Solo BWV 1001 – 1006’,herausgegeben von Günter Hausswald, Neue Ausgabe Sämtliche Werke, ed. Johann Sebastian BachInstitute, Gottingen, and Bach-Archiv, Leipzig, Series VI, Band 1, 2nd edition, Bärenreiter, Kassel,1974.3 Prelude and Fugue in E Minor, BWV 548.4 Debate continues concerning the nature of lute or keyboard instrument Bach had in mind for thecompositions BWV 995 – 1000, and 1006a.5 Example 1 has been transposed to D in order to facilitate comparison with Example 2. The sameprocess is followed for other examples.6 See Prelude and Fugue in D Minor BWV 539. In comparing BWV 1001 with BWV 539, not onlyis the number of fugal entries increased, the general texture enriched, and the chords re-spaced tomirror general organ practice, but the work as a whole has been realized within the resources of theorgan. Few would be surprised that the greatest organist in history would incorporate such changesin his adaptation of a work composed for another instrument. However, BWV 1006a represents adifferent challenge since Bach was not a lute player of renown.7 See, in particular, the final bar of the Prelude, and the Gavotte at bars 85 – 90.
Index
Sonata III BWV 1005 Page
1. Adagio 12. Fuga 33. Largo 144. Allegro assai 16
Partita III BWV 1006
1. Prelude 212. Loure 283. Gavotte en Rondeau 294. Menuet I 345. Menuet II 346. Bourée 367. Gigue 38
Tuning 40
1. AdagioSonata III BWV 1005 J S Bach (1685-1750)
Arranged by Wilfred Foxe
4
8
12
16
19
23
- 1 -
27
31
35
39
42
45
NB Note values doubled; original time signature 3 4
- 2 -
2. Fuga
7
13
19
25
31
37
- 3 -
42
47
52
57
62
67
71
- 4 -
75
79
83
87
91
96
101
- 5 -
106
111
117
122
128
134
140
- 6 -
146
152
157
163
168
172
176
- 7 -
180
184
188
192
196
200
al riverso
205
- 8 -
211
217
222
227
232
237
243
- 9 -
248
252
256
260
264
268
272
- 10 -
276
280
284
288
294
300
306
- 11 -
312
318
324
329
334
339
344
- 12 -
349
353
- 13 -
3. Largo
3
5
7
9
11
13
- 14 -
15
17
19
21
- 15 -
4. Allegro assai
4
7
10
13
16
19
- 16 -
22
25
28
31
34
37
40
- 17 -
43
46
49
52
55
58
61
- 18 -
64
67
70
73
76
79
82
- 19 -
85
88
91
94
97
100
- 20 -
1. PreludePartita III BWV 1006 J S Bach (1685-1750)
Arranged by Wilfred Foxe
[f]
4
p
7
f
10
p
13
f
p
16
f
19
- 21 -
22
25
28
31
34
37
40
- 22 -
43
p
46
f
p
49
f
p
f
52
55
58
61
p
f
- 23 -
64
p
67
f
70
73
76
79
82
- 24 -
85
88
91
94
97
100
103
- 25 -
106
109
112
115
118
121
124
- 26 -
127
130
133
136
- 27 -
2. Loure
6
9
12
16
20
23
- 28 -
3. Gavotte en Rondeau
5
11
15
20
24
29
- 29 -
33
37
42
47
52
55
58
- 30 -
61
64
69
73
79
83
87
- 31 -
91
95
99
- 32 -
4. Menuet I
6
13
19
24
29
5. Menuet II
- 34 -
6
11
15
20
24
28
- 35 -
6. Bourée
6
9
12
15
20
24
- 36 -
27
30
33
36
- 37 -
7. Gigue
4
6
p
f
8
10
12
14
- 38 -
17
21
23
25
28
30
32
- 39 -
Tuning BWV 1005
Tuning BWV 1006
- 40 -
TREE EDITION
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