The Compositional Process of J.S. Bach: A Study of the Autograph Scores of the Vocal Works: Volume I 9780691200514, 0691200513

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The Compositional Process of J. S. Bach VOLUME II

NUMBER FOUR IN THE PRINCETON STUDIES IN MUSIC

The Compositional Process of

J. S. Bach A Study of the Autograph Scores of the Vocal Works VOLUME II

By Robert Lewis Marshall

PRINCETON UNIVERSITY PRESS 1972

[ie Pe _

a? rod Le gt

} Copyright © 1972 by Princeton University Press ALL RiGHTs RESERVED

L.C. Card: 76-113005 ISBN: 0-691-09113-7 Music examples by H. Erhart Henniger Calligraphy by Robert Williams This book has been composed in Fototronic Baskerville by York Graphic Services, Inc. Printed in the United States of America by Princeton University Press

CONTENTS

Introduction 3 VOLUME II

Transcriptions of the Sketches and Drafts 9

The Compositional Process of J. S. Bach VOLUME II

INTRODUCTION HE FOLLOWING 1s an attempt to reproduce in faithful transcriptions the complete sketch material preserved in the extant autograph manuscripts of Johann Sebastian Bach. Since Bach evidently did not make use of independent sketchbooks (in any event, none survive), this material consists of any musical jottings and drafts found in the manuscripts of completed works which are spatially separated from the actual musical scores. As is pointed out in Volume I, these jottings take the form primarily of marginal notations (“continuation sketches”) which record the continuation of a passage interrupted at a page turn in the manuscript. But there are also a number of tentative marginal

sketches of themes for later movements of the work being composed at the moment, or, more rarely, of themes for works to be composed in the near future. Rejected drafts for the beginnings of movements or for the beginnings of major sections of movements provide another source of sketch material.! Identifiable sketches are arranged in this volume 1) according to the BWV number of the work to which they belong, and 2) within each work in the order of their appearance in the manuscript, unless a) there was good reason to believe that a sketch on a later page of a manuscript was actually written down before

a sketch on an earlier page (see Sketches Nos. 164 and 165), or b) it seemed advisable to place related sketches in juxtaposition (see Sketches Nos. 153 and 154).

Unidentified thematic sketches (Nos. 148-152) which seem to belong to lost or planned works appear between the corpus of cantata sketches and the sketches for Masses, Magnificat, Oratorios, and instrumental works. Unidentified marginal sketches which are evidently of the continuation of melodic ideas are arranged according to the BWV number of the major work of the manuscript in which they are found (see Sketches Nos. 43, 47, 70, and 128). With few exceptions, each entry begins a new page in the volume and has the following format: 1] have been able to examine all the known photocopy was consulted in the case of the vocal surviving autographs, with the exception of the MSS. As far as instrumental works are concerned, autograph score of BWV 3, either in the original I saw the originals of all Bach autographs in the or in photocopies. The source list on pp. 7ff. of possession of the Berlin State library complex. Volume I makes clear whether the original or a and photocopies of all other Bach MSS.

4 INTRODUCTION SKETCH NUMBER

At the top of the entry, in the outer margin of the page. HEADING

Identification of the Sketch (BWV No., movement, measure(s), instrument(s) and/or voice(s)). Location AND Layout

1. Location of the source and library call number of the MS, when relevant; the page on which the sketch or draft appears; the number of staves on

the page. A formulation such as “22 and 1 staves” (see Sketch No. 3) indicates that there are 23 staves on the page—22 ruled with a Rastral and one drawn freehand.° 2. Identification of the contents on each staff of the page, and the layout of the page in score systems. The letters a and 0, when used, refer respectively to the left-hand and right-hand halves of the staves.

SKETCH Location of Transcription in BG or NBA* Transcription of the sketch, with modern rendering of tablature sketches (see below pp. 6-7). NoTEs

Remarks concerning the sketch transcription, when necessary. Formulations such as “‘m. 8.6” are to be read as measure 8, note 6.

FinaL VERSION (LocaTiIon In MS) Location in BG and/or NBA Transcription of the final version as it appears in the autograph score. If there is no extant autograph score of the final version, the transcription is taken or reproduced directly from the BG or NBA edition.

Notes Remarks concerning the transcription of the final version.

Volume I. asterisk.

2 See the explanatory notes on the source list in *Facsimile reproductions are indicated by an See the discussion in Volume I, Chapter III.

INTRODUCTION s) The principle of transcription was to reproduce in the most faithful but legible

and comprehensible manner every detail of the original that seemed to have any significance at all. The transcriptions can in fact perhaps be regarded as normalized facsimiles.

Needless to say, the main concern both in the transcription of the sketches here and of the examples cited in Volume I was to be as accurate as possible in the rendering of all readings of pitches and rhythms. To aid legibility, corrections in the manuscripts have been reproduced and, as it were, interpreted, by using different colors to represent the various correction layers: the original (first) reading of a corrected symbol is black, the second reading of the symbol red, and the third reading green. There was no instance where four superimposed readings of a single symbol were evident.

In general, a line of music in the transcription is equivalent to a line in the original. In the few instances where this agreement was not preserved, the end of the musical line in the original is represented by a dotted vertical line (see, for example, Sketch No. 149). The idiosyncrasies of Bach’s notation of beaming and the directions of stems in the original have also been preserved. Whenever it seemed meaningful, the lengths of barlines were reproduced exactly (see Sketch No. 50), as were instances where the notes of a particular part go over the barline.

Barlines which in the transcription are disconnected, bent, or otherwise interrupted represent barlines drawn in more than one gesture in the original (see Sketch No. 39: Sketch and Final Version). The possible significance of this information is discussed on pp. 139-141, and 150-152 of Volume I. (With the exception of the tablature sketches technical printing difficulties prohibited a precise reproduction of text spacing and disposition. The text underlay in the staff-notated examples has therefore been normalized according to prevailing modern practice: in syllabic passages each word is hyphenated and each syllable is placed directly below the note to which it should be sung; a syllable treated melismatically is placed below the first note of the melisma and followed by a prolongation dash.) The vertical alignment in the transcription of symbols meant to sound simultaneously reproduces the alignment of the original whenever the alignment in the original is drastically inexact and thus perhaps significant for determining the order in which parts were written down. Otherwise, the vertical alignment of simultaneously sounding symbols has been normalized. ‘There has been no attempt in these transcriptions to reproduce accurately the slant and lengths of stems, the relative size of note-heads, or the obviously accidental vertical alignment of symbols that are not to be sounded together. Thus, in Sketch No. 127 the position of the notes on the second staff of the transcription in reference

6 INTRODUCTION to the position of the notes on the first staff is completely arbitrary and accidental

in the transcription, Just as it no doubt is in the original. If a draft is crossed out in the autograph, this fact is reported in the introductory description, but the cross-hatching itself is not reproduced in the transcription, since it would only impair the legibility (compare the transcriptions with the facsimiles provided for Sketches Nos. 41, 84, 88, 149, and 162). Editorial

additions have been kept to a minimum and are always enclosed in brackets or reported in the Notes. In the staff-notated examples Bach’s text abbreviations have been written out (the resolution placed in brackets) with the exception of the overline abbreviation for double letters and the formula Doica for Dominica. In the Final Versions (and throughout Volume I) words which in the context of the excerpt would have been incomplete have been completed, the supplied syllables appearing in parentheses. Bach’s tablature symbols have been retained throughout, except for the occasional clarifying letters in staff examples. ‘These have been printed with

their German pitch names: c# = cis, dd = dis, ff = fis, gt = gis, and at = as. The following is a key to the text abbreviations and symbols found in the tablature sketches: TEXT ABBREVIATIONS

N-en (ending) 0 = der

4=5 f = etc. i) = in (ending) © = nicht

)=normors (ending) morn =mmornn

y= us (ending) ( = Segue”

TABLATURE SYMBOLS |

Rhythmic

|}=coor— For For3=2o0r7

FOr kort = of For F or4— Pore ForFor2—-Jor $ 5— A Pitch

b=b or a* f -f'org’ 3= ctor d’ g-grora’ 0-d'ore’ G.-GorA”

INTRODUCTION 7 Octave

- og be.

HCDEFGABwo = 2 ae

hcdefgab = 2a = hc def gab = SSS =m => — — ee a ole

== plete he = SSS SS

hcdefgab - (pest =

Bach was often careless when writing in tablature and frequently omitted the octave lines and/or the rhythmic symbols. These omissions are, of course, reproduced in the transcriptions. Occasional conjectures regarding the intended regis-

ter or rhythm of a tablature sketch are rendered by dotted rhythmic symbols or by brackets (see Sketch No. 64) in the “transliterations” of the sketch into modern notation, which are provided along with each tablature sketch. The following familiar modern abbreviations are used in the descriptive commentary:

f. = folio m. = measure

r. h. = right hand mm. = measures l. h. = left hand Bc. = Basso continuo

Transcriptions of the Sketches and Drafts

BWV 2 -lMyvt. 3, Ritornello Theme and Motto, 8 1/2 mm. LOcATION AND LAYOUT

Score in private possession, f. 3r, 21 staves Staves 1-10: Mvt. 1, mm. 151-167 (end); two 5-stave systems Staves 11-18, 19a—20a: Mvt. 2, complete; four and a half 2-stave systems Staves 21, 20b, 19b: Sketch

SSSSSS eee - “o> SKETCH

ee UT 2 LOT SL ee Tile 9. Gort die Leh - “CSE a:

Gao thegent een Rey meen pees Sex Notes M. 6, penultimate note: the slur for m. 7, 10-12 passes through the note-head

of m. 6.17, making the note appear on first glance as c’”. M. 7.14: note-head enlarged, but possibly no correction (i.e. = f’, unchanged).

FINAL VERSION (f. 3v) BG 1, p. 63

Aria Violino Solo > of 3 ; a

, fief 2 afste@. — _— a eeees i a Se —~ aie cae rp

pePES a eeevay we-fseer 3 sscenlasiae

NL NS ~ b, _ £ tess e994 S841 es eee = _

cb Sree “ertt ty ee.RR o.ooole . = 1% ees = ook ef cpp: Te Gr Lee a ene al Dk. . CT4 oe weeeBAP 2 Sooo8

pis ce A PES peg kp Sse te eet Age eter = Tilg o Gott die | Leh - r[en|

Norte

M. 9.1, Violino: the nature of the correction before note 1 is conjectural.

_2. BWV 2 Mvt. 3, mm. 68-71 LocaTION AND Layout

Score in private possession, f. 4r, 21 staves Staves 1-21: Mvt. 3, mm. 33b-67; seven 3-stave systems The sketch is below the bottom staff. SKETCH

4 +f _ 3 44 F

babbdff FYd\SgchecgD TF _

3 fF 4f 4+ 4 F4+4 Ft 4¢FF _

f 9 g9gbg FedD ga babg\ c bagf0dchalscaba- b

#43 3 3 #3 _3 fF FOF

F decd BOB \cCF chcg afbgV FefFinoe

fFS=oo— —- $saee Se —— ooa—h Ia

ee ee eee eee NOTE

The tablature for the violin part in the original MS is written in a smaller script than the other two parts. ‘This, together with the fairly careful align-

a ae eee ment of the continuo line with the more active voice part, suggests that the alto part was written down first.

FINAL VERSION (f. 4v) BG 1, p. 66, mm. 9-8

NOTE

M. 69.4—5, Bc.: there is an ink blot between these notes, but no visible correction.

BWV 2 -3Mvt. 5, mm. 52-53, Tenor LocaTION AND Layout

Score in private possession, f. 6r, 20 staves Staves 1-20: Mvt. 5, mm. 33b-51; four 5-stave systems SKETCH

—_——____ FRFF __ 9 bo 3 FORb bea e | = X u Noth getuldig seyn xX ou Noth ge - tul - dig seyn FINAL VERSION (f. 6v) BG 1, p. 71, mm. 4-5 : xX ou Noth ge - tul - dig (seyn)

-4- BWV 5 | Mvt. 5, mm. 5-6, ‘Trumpet and Bc.

LocaTion AND Layout Score in private possession, f. 5r, 23 staves Staves 1-15: Mvt. 4, complete; five 3-stave systems

Staves 16-21: Mvt. 5, mm. 1-4; one 6-stave system , Staves 22-23: Blank except for the sketch on the r. h. side |

SKETCH

jp | ree eele

FINAL VERSION (f. 5v) BG 1, p. 143, mm. 5-6

go ae | oe

pS reer SS = NOTE

M. 3.9: a symbol below this note resembling a fermata is presumably the beginnings of a #-sign that was not completed.

Mvt. 6, Complete Movement LocaATION AND LAyouT

Library of Congress ML 96.B186 case, f. 8v, 22 staves Staves 1-12: Draft for Mvt. 6, crossed out; six 2-stave systems Staves 13-22: Mvt. 7, complete; two 5-stave systems DRAFT

Sih eS SS SS SS eS SS ee Recit. Baf§ Sub Signo NB

SE ta — E- 1ee «6 = ® 4a (4 a : =aa ee ee ee 2= ee_. .ee Wenn wir die Siind aus dem Ge - setz er - ken-nfen], so |schligt es das Ge-wi-@[en] nie - der;

oy: #8 FY : A --—¥ s—— 9 J 1 aS aa | {ff pe — on 5 eee is i doch ist das un- ser Trost zu nen - nen, dag wir im E - van -, ge-li-o gleich wie- der froh und

a # 4 Me, a va — ° v=ooo ee

eS ee di

wer - den; di® star- cket un - sern Glau- ben wie - der. Drauf hof-f[en}] wir der | Zeit

a Se ee a

Le eT = St SY ee —— 2 — — ——— 2 2 a a? eo Ot ty —}—_ fa —_ yy he. if ———s oe, ee f_ Seen 25 eee mes 6 pee es et a, Se , Ss

uns ver - schwie -gen. Je + doch wir | la - Ren uns be - gnii- gen, er jweiS es wen es no - thig

UJ Vi 1 — a a a —— le I | 72, ee OS —_— =F “i A 0 TY ee qT —_— t

oF ta — -—SaaSS=F pfae’, ieSen f——-——— poSE—— 2 fe —t+—f¥-—¥ aan’ Gee A i on a ih A=CS? EE |

Se ee| ARNO eS fe 2oS anSDT ie SS > SS SSS| ReaD, FSee ee oo SD OD, A ENN ist und brau-chet | kei-ne List an uns; wir | d6ér-f[en] auf ihn bau -en, U. al - lein ver-trau-[en].

oe

ee ote — | Mth LE Kns VE. | [ ios ae a oe of f - FE het on + aA Ste F

| ee a eh

, weap ae ke dee pote | ds 5 cag m4 dat EB ahe tt ee fe Seer areede9 9:7 Lp|SRET beae

eaitleg 1172 GE, (al be a

¢ By ta if Ao eS ee ;

RPS lees I

a 7" 2 pV EE ES eset Ais 2 cae

SPOT rE goon ire rg ratty rer Pe 7a “e Vat} - 7 22 — gt oe eo ce ‘ A F

(OCT BT DT ep hrty 2) arly OR

‘ a phy? wD faye ) Fa J} Ul us

PRCT) Pg OY gee ae gic nar Eby ABD, 17I LEY ) F BEE:

a A 7 ns |

fi Prt yr pet Py iJ de! JS p— Sine es Ff Fes tts ue HS USEp a re Shope ee Sy,

A ite bk J Fiat IE | a " a io % Pep tiny pba HE Pf pe a |

eer ELE Pn a

ae iy ou +, Ait? ee ———

- I, Draft of BWV g, Movement 6. Autograph, Music Division Library of Congress, f. . 7

0 -/- BWV 9

NoTES

M. 4.3-5, Voice: the original reading is smudged out; the final reading unclear.

M. 6.7-8, Voice: the placement of the notes in the autograph indicates that the continuo part of m. 3.2-3 was written down before the bass part of m. 6.

M. 7.3-6, Voice: the original reading is somewhat conjectural; note 5 is

possibly corrected from b. Mm. 7.1-2 and 8.1, Bc.: the readings are conjectural. Mm. 8-14: since Bach failed to cross out all but one of the original barlines during the revision of the barring in these measures, the assignment of the barlines in the transcription to the original or final (1.e., black or red) stage is based on internal evidence alone.

FINAL VERSION (f. 9r) BG 1, p. 273

Recit: NB. .

Detre ee ee ee St > 2 STL 7 =ee ——— >. hp eee ee ee

POE hy 7S SSS eS ——

KD 3 SON AAR ee —____ —. y 1— __ vee J//_— ee._. 4ee eeeeeeee eee

Wen wir die Siind aus | dem Ge-setz er- ken-nfen], so | schlagt es d{as] Ge - wi -®[en] nie - der: doch

v.tw. am: 1¥ —F— a = = = - ae — oT 7 s oo =a

canis . a ea EEUU nn | ee [-— ist d{as] un- ser Trost zu j|nen-nfen], da wir im E- van-| ge- li- 0 gleich wie - der froh u. freu - dig

Sigh —— pr S$ eS eS VW. 2 . a eee ee ee ee eee EEO _ es ( SEY __ Ry, ©. Uy Aah) Cyan bs A Bs eS EE .. GOIN” SRE oe __» ——_ >-—_ a _—— 7) SY Bens Ce S NWENY,

wer - den, dif, dif star - ket un - ser[n] fe sig wie - der. Drauf hof-fe{n] wir der Zeit die

= Ef fe a Po pig ee

— Lao a a i A ae Se Se a acc = 2 KF

Dah ———— ee eee —— Se

eee eee ee Got -tes Gii- tig - keit uns zu - ge - sa - get hat: doch | a-ber auch aus’ wei-se{m]Rath die Stun-d[e]

"4 _ a a it _ a v SS . Se \ a \ Sa uns ver - schwie-g{en]. Je -| doch, wir la -&fen] uns be -| gnii-gfen], er wei es, wen es no - tig

ist, su. brau= chet kei - ne List an | uns: Wir ddr-f{en| auf ihn | bau-en, | u. ihm al - len ver Sy =: oo a2 _— a oe PZ ee enn nS MNES Dh ASUNSRNRINIEE ob

oe te ye SS ee Se eases aeeee eee————— oertrau —_-=fen} —_— (ok: oF TR E=Ee ee a ee eae

-§- BWV 10 Mvt. 1, mm. 10-13, Oboe 1 and Be. LocaTiIon AND LAYOUT | Library of Congress ML 30.8b.B2M4 case, f. Ir, 22 staves Staves 1-20: Mvt. 1, mm. 1-9; two 10-stave systems Staves 21-22: Blank except for the sketch on the 1. h. side SKETCH

> CEP tree, Coyle Ef rity TFtpIf2 dot eS ¥ rn CES tte sr ¢ Cf Yo ed Sa are aber) af: aaa Noves

M. 10, last 2 notes, Oboe: these are so placed that it is clear that the Be.

part for m. 6 was written down before the sketch. | M. 12.1, Be.: is presumably so changed (from D to Ff).

FInAL VERSION (f. lv) BG 1, p. 278, mm. 3-6

, wy De ee A pe e 4 J Lp. Do UA. Wg 2. gg.) TE. DT LT e@ UE ee pr ft tt -OLtfh ~ eit se, ES EE ep “fepp Nf aS

op Ch tirr cer pelt; pp A we tr pis= = 5b fed ee a a 4 ae : >. -. woven " 5 yoo “| a a os P= so San caane: Pn a ny fn —-——

BWV 10 -9Mvt. 4, mm. 5b—6, Bc. LOCATION AND LAyouT

Library of Congress ML 30.8b.B2M4 case, f. 7r, 23 staves Staves 1-10: Mvt. 2, mm. 75b-82 da capo; two 5-stave systems Staves 11-20: Mvt. 3, complete; five 2-stave systems

Fe

Staff 21: The word Ara on the |. h. side; the middle of the staff is blank; the sketch is on the r. h. side of the staff, crossed out

SKETCH |

Staves 22-23: Mvt. 4, mm. 1-5a; one 2-stave system

Notes

M. 6.4: the note-head is enlarged; the original reading is either d or e, unclear. M. 6.6: possibly to be understood as C, although only one leger line is visible.

Fina Version (f. 7v) BG 1, p. 296, mm. 5-6

ca eee fee ee ee ee

-10- BWV 14 Mvt. 2, mm. 15-16, Horn | LocaTION AND LAYOUT

P 879, f. 6r, 23 staves Staves 1-9: Mvt. 1, mm. 209-217 (= end); one 9-stave system Staves 10-21: Mvt. 2, mm. 1-14; two 6-stave systems Staves 22-23: Blank except for the sketch in the r. h. corner of staff 22

SKETCH |

NOTE ,

M. 15, last note: apparently so corrected, but compare the final version. M. 16, last note: ambiguous, possibly to be read as 9”.

FINAL VERSION (f. 6v) BG 2, p. 116, mm. 1-2

BWV 16 -ilMvt. 5, m. 6b, Oboe da Caccia LocaTION AND LAYOUT

P 45/7, f. 7r, 19 staves Staves la-8a: Mvt. 3, mm. 69-70 (= end); half of one 8-stave system Staves 1b-8b, 9-16: Mvt. 4, complete; four half-systems of 2 staves each and four 2-stave systems Staff 16, r. h. edge: The sketch, after the conclusion of Mvt. 4 and above the

oboe da caccia part of Mvt. 5, mm. 5-6a. The sketch is crossed out. Staves 17-19: Mvt. 5, mm. 1-6a; one 3-stave system

SKETCH NBA I/4, KB, p. 66 Notes NBA I/4, KB, p. 66, counts the title page preceding the autograph score as f. lr, and the first page of the score proper as f. 2r. Accordingly the sketch is mentioned in the description of f. 8r.

FINAL VERSION (f. 7v) BG 2, p. 193, m. 6 NBA I/4, p. 124

-12- BWV 20 Mvt. 1, mm. 44-47, (3) Oboes and Violin 1 LocATION AND Layout

Score in private possession, f. 2v, 22 staves Staves 1-11, 12a-22a: Mvt. 1, mm. 36-43; one and a half 11-stave systems Staves 12b-22b: Blank except for the draft on staves 12b-15b, crossed out

DRAFT , NBA I/15, KB, p. 132

Notre

ia oe an a rs rs

The original reading of the time signature in Oboe 1 and Violin 1 is conjectural.

FINAL VERSION (f. 3r) BG 2, p. 298, mm. 5-8 NBA I/15, p. 145 =e. ee | a leg. @ ay A, gp Vg > San (ean MARRS RRENSENONREROERINNS SSE Wn

bp e900 eS eee

Poh foo bye J

Nore M. 46, last quarter, Oboe 2: there is an oblique stroke resembling an cighth beam, as follows: tee suggesting that the third beat read J] d’’, b’b at

some stage. |

BWV 20 -13Mvt. 6, mm. 36-41, Alto LOCATION AND LAYOUT

Score in private possession, f. 8r, 23 staves Staves 1-21: Mvt. 6, mm. 1-35; three 5-stave systems and one 6-stave system Staves 22-23: Blank except for the sketch on staff 22 SKETCH

ae ae

er - ret - te dei - ne See - le Mensch er - ret - te dei - ne See - le

FinaL VERSION (f. 8v) BG 2, p. 315, mm. 16-21

~ . _ et Je

NBA I/15, p. 166

ee ereo ee ay wee se eet eee ee cn ce - ret - te dei - ne See - le Mensch er - ret - te dei-ne “See - -le

-14- BWV 24 | Myvt. 5, m. 23, ‘Tenor LocaATION AND LAyout

P 44/4, f. 7r, 21 staves Staves 1-20: Mvt. 5, mm. 1-22; five 4-stave systems Staff 21: Blank except for the sketch on the |. h. side of the staff SKETCH

au - &[en] Wort u Mund

FInaL VERSION (f. 7v) BG 51, p. 148, m. 5

le 0) ee’ yp F

= SS ee |

NoTE

M. 22.3, Oboe 1: as here, no ¢. ,

BWV 26 -15Mvt. 2, mm. 45b—47a, Tenor LOcATION AND Layout

P 47/1, f£. 4r, 21 staves Staves 1-20: Mvt. 2, mm. 17b-45a; five 4-stave systems Staff 21: Blank except for the sketch in the r. h. corner of the staff

SKETCH | Notre

M. 47.4: the # presumably affects this note, but may refer to m. 47.6.

FINAL VERSION (f. 4v) | BG 54, p. 202, mm. 14-16 NBA I/27, p. 44

— — so schnell = —— |

Note ,

M. 47.1: the word schnell is written over an earlier reading, possibly the word emn.

-16- BWV 26 Myvt. 2, m. 112, Tenor LocaTION AND LAyYouT

P 47/1, f. 5r, 24 staves Staves 1-24: Mvt. 2, mm. 80-111; six 4-stave systems The sketch is in the r. h. corner below the bottom staff. SKETCH

_4F F 4.3 _

NotTE . , cacFaghe go =

The tablature symbol F (= 7) between notes 3 and 4, though quite clear,

| eit |

is surely to be regarded as an oversight.

FinaL Version (f. 5v) BG 57, p. 207, mm. 1-2

, NBA 1/27, p. 48

(tei-) a I[en| we{nn] - |

-17- BWV 26 Mvt. 4, m. 36, Bass LocaTION AND Layout

P 47/1, f. 6r, 21 staves Staves 1-20: Mvt. 4, mm. 13-35; four 5-stave systems Staff 21: Blank except for the sketch on the r. h. side of the staff

7 SKETCH *NBA 1/27, p. vil thé - rig - t[en] Welt

FINAL VERSION (f. 6v) BG 5}, p. 210, m. 8 NBA 1/27, p. 52

| thé - rig - fen} Welt

aa Mvt. 3, Opening Ritornello, 16 mm.

LocaTIOn AND LAYOUT

P 164, f. 3r (= binding error; should be f. 4r), 21 staves Staves 1-6, 7a-8a: Mvt. 2, complete; three and a half 2-stave systems Staves 7b, 8b, 9-21: Draft, crossed out

DRAFT

J CIs (a

— Ps ir 2 — SS SS Ee ee eee Bb‘eo bh FT |blew a a Bele _— EE LL en EESE eeea 0“ eee (Re ONE NSO a ee Ne oO EeNEeee — Pe eS pee ws

SE —— es| ee eee ee A = a as ae = as a5alae... ee ee ee ee ee ee ee, Se ee | =. eee le ee ___a eS esete Ss teeeones oe Cts fee—— ae eoerPE=aa8 ee! eee ote aoeSS Coe

———————— —— i Ee ———————————————— [END OF MOVEMENT 2] Aria a Hautb da Caccia

DgpT aa es a ’ e . # i “~~ be be 4 _l* hd s ‘ Ho ee Ea py ee ee ee ee ee ee

EEE rs rr

1 gee ee ee ee ee ee —— — ee ee

EO EEE aS OEeeeaaaawx—_ GNENSe Pee PT —_— Dee

F4 3 4 3. + 4fFf by gch dd fy ppbede fdr g.9 9.9

=

= = it

CF A a oe oO ae OF

Notes , -18- BWV 27

clear. ,

Staff 10: Bach presumably had at first intended the staff for the alto part but then used it for the revision of the cembalo, r. h. part, and forgot to

change the clef from alto to treble. .

Upbeat: perhaps changed from 7 M. 2, Oboe da caccia (= staff 7): the readings of the third quarter are not

tion. ,

M. 2.9, Oboe da caccia: the sequence of corrections is rather conjectural (compare staff 10 here).

M. 3.2-4, Violono: the readings should possibly be interchanged. : M. 5, third quarter, Oboe da caccia: conjectural, possibly a multiple correc-

M. 6.1-3: possibly JJ changed to JJ3; compare m. 7.1-3.

by b ‘ pee SS et ee ee 1 ee eee eee -18- BWV 27

FINALVERSION (f. 3v) BG 5}, p. 228

pte El pee le eet IC) Ss To ee oe ee Hautb. da Caccia

ST Sr ——

=| 5 9 — ed re oer : cee enedaars a Seee = | le__PSS a— Se names ee A. ~~ 7 "Tia _. . Ff 4 +——F ‘1 - be — SSS if

|___Fan Stee —— —ere a2pre rene er et ee ries a fete

heise ee siamo milf. eT

Be 7 en ee bh. oe ; ee ab . a - ce

Br, CRS PSE ere eres eceit crf ete fl repel TOL eer Oey per eters:

we ee pe de PUP pe bee lp gag Ay See Wilki\(kommen)

-19- BWV 29 Mvt. 3, Opening Ritornello Theme? 4 mm. LocaTION AND Layout

P 166, f. 9v, 24 staves (f. 9v is the last page of the score) Staves 1-18: Mvt. 8, mm. 1-36; two 9-stave systems Staves 19a-24a: Mvt. 8, mm. 37-44; half of one 6-stave system Staves 20b-24b: The draft, upside down and crossed out DRaFT

pt eer ere fg — | Aria

pry gf ee eee

wtf —— ff

Notes The first page of the musical portion of the MS has been called here f. Ir. This page, however, is the second leaf of a binio. The first leaf of the MS is completely blank (see Volume I, p. 63). By beginning the foliation with

the second leaf, the final leaf of the MS—although part of a complete sheet—receives the odd numbering f. 9.

M. 3.2, Violino 1: although the correction is quite unambiguous in P 166, the transcriptions both in Schtinemann 1935 and BWV print c’’’#, presumably as the valid reading.

FinaL VERSION (f. 6r) BG 51, p. 301

ghAria - =a 7Violino te a pr et oeSolo pe pe + be__ feo ef

Secisc aes ert ¢ ais 1 fF ee a —

ope ease sie ths fetittreid 2 jie ee Hal - . : -le -lu-ja | Stark und Macm

BWV 30a -20Mvt. 7, mm. 19-20, Violin (Melody) LocaTION AND Layout

P 43/1, f. 12r, 24 staves Staves la-—6a: Mvt. 5, mm. 108-110a da capo; half of one 6-stave system Staves 1b-6b, 7-10: Mvt. 6, complete; three half-systems of 2 staves each and two 2-stave systems

Staves 11-22: Mvt. 7, mm. 1-18; two 6-stave systems Staves 23-24: Blank except for the sketch in the r. h. corner of staff 23 SKETCH

FINAL Version (f. 12r) BG 51, p. 363 (= BWV 30, Mvt. 8), mm. 6-9

[Violin] (Ge ef pp +p j* =< Sear iet rey =n es

‘ay: @ r r i= OOfF—e| [Oboe] eS

ee -21- BWV 30a

Mvt. 9, Opening Ritornello ‘Theme, Violin and Bc., 3mm.

LOCATION AND Layout

P 43/1, f. 14v, 23 staves | Staves 1-10: Mvt. 8, complete; five 2-stave systems | Staves 11-13: Draft, crossed out; one 3-stave system Staves 14-22: Mvt. 9, mm. 1-19; three 3-stave systems Staff 23: Blank

VV. unisoni Aria fget EE etaa a——_—— Sy ot Z ——_ pop eo Se ee ee ee DRAFT

$e SRS _ SS (RSS Sees pegs ett ereeterrette | FINAL VERSION BG 51, p. 374 (= BWV 30, Mvt. 10)

f) + a ,ee fe > p wTe\ oo. . a eeee ape e hew E ego es Pe) SessaeCaen ite eo—SS re oe pres, i eeee eeen ee NortEsS

M. 2, Violini: the original reading is not perfectly legible. M. 7.7, Violini: the # seems to be crossed out in the original.

BWV 30a -22Mvt. 9, mm. 66-67, Soprano LOCATION AND LAYOUT

P 43/1, f. 15r, 23 staves Staves 1-23: Mvt. 9, mm. 20-65; six 3-stave systems and one 2-stave system and one 3-stave system The sketch is in the r. h. corner below the bottom staff. SKETCH

[eva

geiadelfd hind = eg —P-teet ppp r Note

Bach was evidently careless in indicating the register of the pitches. Also, as in many other instances, he failed to enter the tablature rhythm symbols. M. 66.3: the horizontal line representing the octave level of the pitches was clearly so corrected and extended in the original.

Fina Version (f. 15v) BG 5+, p. 376, mm. 18-19 Hen -nicks Ruhm und Glii-cke al - le Zeit

- 23 - BWV 36c Mvt. 7, Opening Theme (Viola d’Amour), | m.

P 43/2, f. 9r, 21 staves ,

LocaATION AND Layout

Staves 1-10, lla-15a: Mvt. 5, mm. 46-55; two and a half 5-stave systems Staves 12b-15b, 16-19: Mvt. 6, complete; two half-systems of 2 staves each and two 2-stave systems

Staves 20-21: Blank except for the sketch in the |. h. corner of staff 20

SKETCH | NBA 1/38, KB, p. 159 FINAL VERSION (f. 9v) BG 34, p. 90 Aria Viola d’Amour Solo é€ # _

- 24- BWV 39 Mvt. 1, mm. 22-23.1, Be. LocATION AND Layout

P 62, f. lr, 23 staves Staves 1-23: Mvt. 1, mm. 1-21; two 8-stave systems and one 7-stave system The sketch is below the bottom staff.

SKETCH NBA I/15, KB, p. 179 *NBA I/15, p. xxxiv pPBcd DG = NoTE

M. 22.6: correction, original reading illegible.

FINAL VERSION (f. lv) BG 7, p. 306, mm. 4-5 NBA I/15, p. 183

BWV 39 -25Mvt. 5, mm. 56-59, Soprano Location AND LAyouT

P 62, f. 10r, 25 staves Staves 1-24: Mvt. 5, mm. 13-55; eight 3-stave systems Staff 25: Sketch

SKETCH NBA I/15, KB, p. 178 s ’ dochkein Op-fer wil - tu doch wil - doch kein Opfer ok ~ NoTE

M. 59.3: possibly enlarged from b’(p) to a’.

FInAL VERSION (f. 10v) BG 7, p. 345, mm. 6-9 NBA I/15, p. 225

- fer dochkein Op-fer wil - tu) doch wil- tu doch kein Op-_ ~- fer nicht

Note The clef (surely a slip of the pen) was corrected before the key signature was written.

- 26- BWV 41 Mvt. 2, mm. 51-56, Soprano LOCATION AND LAYOUT

P 874, f. 4r, 21 staves Staves 1-15: Mvt. 1, mm. 36-40; one 15-stave system Staves 16-20: Mvt. 2, mm. 44-50; one 5-stave system

Staff 21: Sketch |

SKETCH NBA I/4, KB, p. 30

NoTE | | bring - [en] Sg eB en - de so wie ~

The final version of the text in mm. 51-52 is written directly on the original reading in P 874. The two versions have been spatially separated here to aid legibility.

po SS eS

FINAL VERSION (f. 4v) BG 10, p. 50, mm. 7-12 NBA 1/4, p. 89

(voll)-brin - g{[en] da - mit d[as}] En - de so wie de - fen En - de — sey.

NOTE

M. 54.4—-5: the text as here. See NBA I/4, KB, p. 60.

BWV 41 97. Mvt. 4, mm. 17b-19, Tenor

P 874, f. 10r, 22 staves ,

LocaTION AND LAYOUT

Staves 1-15: Mvt. 1, mm. 100-105; one 15-stave system Staves 16-21: Mvt. 4, mm. 10b-17a; two 3-stave systems

Staff 22: Blank except for the sketch on the r. h. side ,

SKETCH NBA I/4, KB, p. 31 a aaeeere FINAL VERSION (f. 10v) BG 10, p. 54, mm. 12-14

12 a ew ee ee , NBA 1/4, p. 94

Leib u. Stand ge -_ schie - d{enJso la& der See - le doch dein se- - lig §=ma- chend Wort

NOTE

M. 17, last note: the text as here. BG and NBA have be-schieden.

- 28 - BWV 43 Mvt. 7, Opening Ritornello Theme, 5 1/4 mm. LOCATION AND Layout

P 44/6, f. 7r, 20 staves Staves 1-15: Mvt. 6, complete; three 5-stave systems Staves 16-17, 18a-19a: Draft; one and a half 2-stave systems, crossed out Staves 18b-20b: Mvt. 7, mm. 1-5a; one 3-stave system

SKETCH AND FINAL VERSION BG 10, p. 115 NBA I/12, p. 154, KB, p. 213

Tromba — 4 AK ——™ J _—~ gf

eT en (Ce? Cee’? tea * here tet b

a — 77a r ae cere fp: vee Crep: Lo. Cri pan i SE . —- ——

p o lo eT rd

—

Gata eee ote

ee SS ==

BWV 43 -29Mvt. 9, mm. 58b-59, Alto LocaTION AND LAYOUT

P 44/6, f. 9r, 21 staves Staves 1-20: Mvt. 9, mm. 26-58a; five 4-stave systems Staff 21: Blank, except for the sketch in the r. h. corner SKETCH

SEE eee Jam - - -mr Noth u.

Notes The first symbol of the sketch is clearly 4. See NBA I/12, KB, p. 217 M. 59.4—-5: the correction, though probable, is not completely clear. Perhaps fd , uncorrected.

FINAL VERSION (f. 9v) BG 10, p. 123, mm. 11-12 NBA I/12, p. 161

. Ja - - - mer Noth NoTE

M. 59.3-5: the placement of the syllable -mer is ambiguous in the original. NBA retains the original beaming but places the syllable directly beneath m. 59.4-5. The BG version: JJ|JJJ £1 is surely unobjectionable. Jam - - mer

-30- BWV 44 Mvt. 6, Opening Theme, (8) mm. LocaTIon AND LayouT

P 148, f. 6v (= last page of the score), 22 staves Staves la—5a: Mvt. 7, mm. 11-12 Fine; one 5-stave system Staves 1b—-5b, 6-20: Blank

Staves 21-22: The sketch, upside down

SKETCH NBA I/12, KB, p. 260 8 he . rT set of de eo ..__-RR be, > > =ss ————_ Note M. 3.13: the beam is smudged here in the original, possibly concealing a

previous reading. | FINAL VERSION (f. 4v) BG 10, p. 144, mm. 1-8

— | “$e. “32. TR d,. = Qregier sf sd\s7) (eer 1p eee eee f) — So f= __ ——— >A . po. . . a NBA I/12, p. 181

baoe oJ-Re. = see Sams IS (OE Ne ey .o 93 @ T4y + - : mor eo > -p Phe pr PE 29 ab #066, :

NoTE

M. 6, last note: the original reading is ambiguous—b’’p or a”.

BWV 45 31 Mvt. 1, m. 130, ‘Text LocATION AND Layout

P 80, f. 3r, 23 staves Staves 1-23: Mvt. 1, mm. 105-129; two 8-stave systems and one 7-stave system The sketch is in the r. h. corner beneath the bottom staff. SKETCH

neml [= namlich]

FINAL VERSION (f. 3v) BG 10, p. 161, m. 14 NBA I/18, p. 210 neml

BWV 47 -32 Myvt. 4, m. 57b, Bass LocaTION AND LAyouT

P 163, f. llr, 22 staves Staves 1-20: Mvt. 4, mm. 37b-57a; five 4-stave systems Staff 21: Blank except for the sketch in the r. h. corner Staff 22: Presumably blank (the staff is covered by a strip of paper attached probably during the restoration of the MS)

NoTE |

SKETCH

Note 3 as here, i.e., d’p is clearly intended although there is no visible leger line.

FinaL Version (f. Llv) BG 10, p. 271, m. 13 : | ~ =: (gefil) - - -lig bin

- 33 - BWV 48 Mvt. 4, mm. 35-38, Alto

LOCATION AND LAYOUT : P 109, f. 5r, 20 staves Staves 1-10: Mvt. 3, complete; two 5-stave systems Staves 11-19: Mvt. 4, mm. 1-34; three 3-stave systems Staff 20: Blank except for the sketch on the |. h. side SKETCH

FINAL VERSION (f. 5v) —_ BG 10, p. 289, mm. 35-38

— (wo-) fern es dein Wil-le zer - st6 -ret dar - nie-der .

BWV 51 - 34. Mvt. 5, mm. 84-87, Soprano and Bc. LocaTION AND Layout

P 104, f. 8r, 18 staves Staves 1-18: Mvt. 5, mm. 59b-83; three 6-stave systems The sketch is on the r. h. side of the page below the bottom staff. SKETCH

444

FSS ee se ee edef efdel3h3d 3dh3|d3de decdlhahe hcAh =

—___Fa —3__ £ —_____ glghe oy fefad Fgo df

NOTES

As here, the Bc. part is written above the Soprano. M. 87.2, Bc.: clearly a, though A is surely intended. M. 87.7, Bc.: the symbol is not clear, presumably A. M. 86. last note, Soprano: the metric symbol apparently f (= 4).

—SS SE poe | | |

FinaL VERSION (f. 8v) BG 127, p. 23, m. 20 to p. 24, m. 2

ae ee ee es ee ee eee ee SS

-35 - BWV 952 Myvt. 5, mm. 101-104, Soprano LOCATION AND Layout

P 85, f. 8r, 26 staves (the top staff of the page is drawn freehand, so that there are properly speaking 1 and 25 staves) Staves 1-25: Mvt. 5, mm. 70b-100; five 5-stave systems Staff 26: Sketch SKETCH

lei- - -ne al - lei-ne die Welt mag nur al-lei- ne blei - b[en]

FinaL VERSION (f. 8v) BG 127, p. 49, mm. 15-18

(al-) lei - -ne al - lei-ne die Welt mag nur al - lei - ne a - bfen]

- 36 - BWV 5/7 Mvt. 7, Opening Theme, Violin (24 mm.) and Bc. (13 mm.) LOCATION AND Layout

P 144, ff. lr-lv, 17 staves on each page

F. Ir Staves 1-15: Mvt. 1, mm. 1-24; three 5-stave systems Staves 16-17: Sketch, mm. 1-13; one 2-stave system

F. lv Staves 1-15: Mvt. 1, mm. 25-55; three 5-stave systems Staff 16: Sketch, mm. 1-24 Staff 17: Blank

-36- BWV 57 SKETCH

pig ttt 0 5 het sao Pda PoP Pl Rael Peet Leen Pet tre —titeretie

Sa ae ee ee Sp HES lel) TE = I ee ee ae ae = Feet lrecertre rtp PRP ttt settee NorTes

Like the transcription, the original MS contains no barlines in the Bc. part between mm. 3-4, 4-5, 6-7, nor after m. 13 in both parts, nor between mm. 18-19 in the Violin part. M. 4.1, Violin: the note-head is placed considerably below the leger line, suggesting that g was perhaps intended (compare the final version). M. 23.4: the (for Bach) necessary repetition of the # is lacking in the original. M. 24: as here. Apparently the sketch was abandoned before the second beam for notes 1-4 had been drawn.

el ee eee FINAL VERSION (f. 8v) BG 127, p. 127

Violino Solo

eg efit fot ott eae eee Se ee se eee SE ett ee ee

cee eee aac o8 fas aceel pec eed hl yb ee see ——ae Faee a [__¢ —te—?— £0, eee Foe)eee es | oe (aes ge eae eee ee2 ee eee

C2 Se ae ae aa f= ee ee ee Note

The system beginning with m. 22 in the original MS has three staves. ‘The middle (soprano) staff, which has (whole) rests for these measures and contains no corrections or other irregularities, has been omitted here to save space.

-37- BWV 57 Mvt. 7, mm. 33-34, Violin and Bc. LocATION AND LAyYouT

P 144, f. 8v, 19 staves Staves 1-12: Mvt. 6, complete; six 2-stave systems Staves 13-19: Mvt. 7, mm. 1-32; two 2-stave systems and one 3-stave system The sketch is in the r. h. corner below the bottom staff. SKETCH

fais fgets = Achablg — ——

bed g Bef

Note The last two rhythm symbols are somewhat indistinct in the MS. That the

2

first and last symbols of the Bc. part were written as small letters 1s presumably the result of carelessness and haste.

FinaL VeErsION (f. 9r) BG 127, p. 127, mm. 33-34

BWV 57 - 38 Myvt. 7, m. 94, Soprano? LocaTion AND Layout P 144, f. 9r, 18 staves Staves 1-18: Mvt. 7, mm. 33-93; six 3-stave systems

The sketch is in the r. h. corner below the bottom staff. SKETCH

FE _iyb

cb = phe ipod eb ——- eb Note The sketch is not perfectly legible in the original MS.

FINAL VERSION (f. 9v) BG 127, p. 129, mm. 2-3 r : (== ben

- 39 - BWV 58 Mvt. 1, mm. 77-84, Soprano, Alto (!), Violin 1, and Bc. LOCATION AND LAYOUT

P 866, f. 2r, 21 staves Staves 1-18: Mvt. 1, mm. 56-76; three 6-stave systems Staves 19-21: Sketch

SKETCH NBA I/4, KB, p. 134

tert steer ee ee eet Peet de nach d[em] Schmer - - - ze zur Freu?® nach d[em] nur ged. gegd. m{ein]

ee — | ttSEE py 79 . 83 /a a; etgis e e oo — es EO Oe — eae -39- BWV 58

FINAL VERSION (f. 2v) BG 127, p. 139, mm. 6-13 NBA I/4, pp. 225-226

2 ee | | pest _ mo Po mg: . Cece: sept

= Ad a Vi — ey nSee b °eebdeee adae=aeeLA 2 ee i ae>eS a eee ee

Pe ee ee a eet et oe 8. “0 > CO ee ee my

2 >: ee eee ——— | __f be» tH 9 —o— yep ES __prerer_ of? 2:»-

i_—_rrTNet —_ pe |

pg ey hy eg ey HT eS Se ee a See Ce eS LSS: SSDeS LAS AS SS NP SEU RINISeee CEN 5 A en ee rt > oor ———————————— ee | ee ee esse eee EEE OOOO ooo

SS —— a ee ee ee ae eS -dult Ge-dult mein] -ne bd- — -se | Zeit

$9 yg, Pe : = = — af NoTEs

M. 77, last note: Violin 1 originally f’(?) or sixteenth-beam. M. 80.2: tablature letter changed. Original reading illegible. M. 82.1-2, Viola: reading uncertain.

M. 85.1, Alto: it is uncertain whether the ) belongs to the first or second reading, 1.e., black or red. M. 85.2-86, last note: Continuo reading conjectural.

- 40 - BWV 62 Mvt. 4, Opening ‘Theme, 8 mm.

LocaTion AND Layout P 877, f. 2v, 22 staves Staves 1-20: Mvt. 1, mm. 26-33; two 10-stave systems Staves 21-22: Sketch only

SKETCH NBA I/1, KB, p. 80 Finat Version (f. 7v) BG 16, p. 45 NBA I/1, p. 94

NoTE

M. 4.8-9: possibly added subsequently, in analogy to m. 2.8-9.

BWV 65 -41Mvt. 1, mm. 19-22a, SATB and Bc. LOCATION AND LAYOUT

P 120 (= BWV 81), f. 7r (= last written page of MS), 21 staves Staves 1-8: BWV 81, Mvt. 7, complete; two 4-stave systems Staff 9: Blank Staves 10-14: Draft A; one 5-stave system Staves (15-17) 18-19: Draft B; one 2- (or 5-) stave system Staves 20-21: Blank

Draft A

- gfen] c h Lote c¢ dgtr sief.werd[en] aus wv eee vo PEL saSSS55sic55=— ~ glen] . , a | Siewerd{enjausSa- ba al - le | 2 ti(i‘i:™S

See 416 57 p colt pect terencteetl titer exer br[ingen] sie werd[en]aus Sa - ba al - le —

gl isp Merch } a b —_ . on ee .

brin-g[en]sie werdfenjausSa - ba al - le oO -

Draft B

nS EF a : peri tee Se = SS SE eons Pe teti tener ese ares rte

T_T OY AY LS 3 ke a aa NS es Ss Ss —— a RS AS PS a OS AO pn Oboe 2 € Violino 2 ee ee ns On —

TT TF Fe TS lie) A I oo wg Ee I SO a C ( ee A SE 2 A SS —— — —— Os OU” RRR SY A OO PS NS OG GG A AS A SS RS — SOS SS A LO A A A = HO

. - ae |(AQ es Ss iPore a ee es a—s_ aBiee FY lad le a aaawe a! ey Aspeeeeee EoFe Te etSSA PeSSLtt aati te kietSSee =; ALe eae ee SS a A SS SS SS AS ST FT SD. SEeT —— —-:eee SS SS ee — —ert —-

A Violino 1 eoeteren et |... | |e . oe |, _ ae eee eee eo 2 8 |. oO v_cKceOo TTT 9 _-c00n-—-——/“o>=z30Nn-”o~no”nr ST EE SS ae 8 —— a —— —— —— S — _— — S ST

Viola es es ener ne el TT ooo ewe Le a SS GS (Ga Sa ID ee Rs nnn I I Dh) a La a SO RE I7Se a ooo eee” eo ee Pe RUT RR ee oo oss a aeee™®™™’eou eS es a QQ“ ee Violino 2 ne ee ee ee nl el

oA RES SS SSSsSS ANS LEBe| ONY A llEE MD ” S A_enA_ A NS>a __ —— ——A——— TS A WA eA RY ANS NN NEVN NN lS SE OO ES —— SG A, NNA A |_ AY

a . , ; I a ~ | f) 2 —— a = ! Se a a YA Se | _ TO | ooo oo oT eT : 9 e _ 2 ne ee O_O _ _'-9—_ ot oo t Se tt — eS —

ee ep 8eTSEPeSRG = —=FTOT_ _ ?—__ 1 _ OO 17 8Aee SESSDa Ot EO) oO_e$?P?7AN™NT A ST NOeSROS SS— SO NSSS ONS” cASS ON A OS LS lO—— A LSSA— —O 4 La eS —— SS SS SS Sc SS SS SS SE EN ON OSU SS _ —— ——

ICg TSTes=xxxx, 5 A) es a TED a es en Se Sn eS Se... a Sees EE oom ee iTt oPoo eTLal OTPerera CFE ettae. et >CY EESY eee2 ee Cele? Cae 6

OS i Rl SScelASes PN—— OS—Oe—0OS PeSSAES SRLOAO SS —— Se ees ee . ESE i? A ES iASN Tiled — GB ——

le a ao, aN rn tr

oS SS A Sy ay lO. CP a eee ee Pe Pe 2 Oo ;

7 | ee oT eeBeos #1—~. ~9W al — erent? ll yoSS Too C—O 1 ~OG A rfA———TF SO—-A— SSelon SS SS A—— SE Ss —hcGa A ON” NS —— __— — metee —ttON — —— ———— —eo— S | eA iTS SE OE a— PS——-— RE Asllee neSO eeBy aSA A 2TS 2 NS Ss PE (.. — a SO aa7— A SS 2ODaceS ASYcSOO SO ST| SS "Si —CE Sas ASES SS

m= — ; oe ee ee ee 1 ee ee J A a A ee es

«2 A a ee Ym ee A ceed AS SS RAD NN

. iOE tel,a On o——_@,—s| ?n a?" ——_ 2 fe eeNSeeCENA ee — Co OT TE EY 108 ed wl OS AS2a A —— — — SS SS A& A NO SN” SN Se Teele | Sunbeam dt OE TNNTYPAeR-UzvXxT..0VTeWDsn)

ES Res eee === noun wares a

TS AP aa 2aOe OO CVS See (.. [i aOE eea ee a ee a Yl ee—| SO_O OoN>NWNDOaTT SS —— SE —— — SS —- SE BS —— — —_ — S S S SP SeSS |

: —— —— , Violino 2 ee ed es pene ee ee o , aaa ee _| — 0A—— 2SSO ol alSS | a=——— OS SS a ————— — —— hnee SS A AS A A(| ——— ey Frere otf _ rs... cai gg ae A A A SS A Se ee) Ne EDF ed eS SE OO OO ES DOOD Sg ooTlEoOE a (SO[ICR (RES (SRR (SS ~ ~ ye emer ee eo ert ] SS aSEO ee SS SS A ON SNR SE NS OS OS = SS ( a ae Soca OE od nnETSee.-~--2] ee ote “ Gortes Eee eeaEe... oS ooo OO oe 1SY ee =e a OOOO ete mrtlA it eeAle a ee aeSa AY | Y Seee 1__."1.2.2-2>=—"r—>7"(’”— ad PY nd 2 le 2 aes; Del OO

Pl OeSSeee T_T— 2 —— (Nw aSet a TD So IeeTeeOO OEOO OTET OOO LFaSS A ee OSet—— BS Eee Eee ooo eee !

I

_ TS OS, SS, A OS a eS Se eS cee — SOR A

ee aa CO > eeOT ee _ —E=Eq_TTCCC_IN 2ee 2 tant? TT OTT TT "TT ee ootOY Ee 7ere ea| seepLaoe eg 2 O_o T_T eee ao Eee OTT [Tee IooTe et

-50- and -51- BWV 76 NOTES ON THE FINAL VERSION

M. 1, Trumpet: the original reading of the time signature 1s conjectural. M. 2.1, Violin 1: the original reading of notes 1 and 2 is smudged; the transcription is conjectural, but compare the Viola and Oboe 2 here. M. 6.1-4, Trumpet: the original reading is conjectural but probable, compare the preceding measure. M. 8.5-6, Oboe 2: the original reading is unclear, possibly a”, g’’ changed to go”, f’’.

M. 12.1-8, Bc.: the original reading is presumable though not pertectly sure.

) BWV 76 -S1Mvt. 7, mm. 1-5a, Trumpet, Violin 1, Soprano, and Be. ~ LocaTION AND LAYOUT

P 67, f. 10r, 19 staves Staves la-6a: Mvt. 5, mm. 52b-55; half of one 6-stave system Staves 1b-6b, 7-14: Mvt. 6, complete; three half-systems of 2 staves each and four 2-stave systems

Staves 15-19: Sketch ,

SKETCH

4 FL oT TT yg TOT EE a |}

— eee _ ‘ Es aa ee = Sele eedwoll ee eeuns ee ee

eee Se -Il- BWV 76

FINAL VERSION (f. 10v) BG 18, p. 218

os oP — 7 rr f) ’SE wy ee or ~~~ valne ' ’ ee ~~~HR -: ib i ee_ee CHORAL

Tromba

SL 8 a OS RS SS SS SE SS , es Se ST Sl ae! Saeeeees Pees

2 ee eee eee eee 2 oo i a SS a ie es

, —————— — —_ ee a a —

I nn TS oo

ee Eeee ee eeee ea = SS io) ee eee O_o 8 l —7TWHW**}WY.-Y-rC.---o202,. Oe y— oA | ——_1 5 7

Cee ff —_§_ Te . ar pF le @G [or Fe eT—_—_— I "-_ _ tbr O TT -CKHCL--C$CFNwTYTT Oe ee 8 og SO aS

i el

TT ee Ore ES aS SS A — A Ss ve 2

Notes M. 3.7, Violin 1: unclear, possibly no correction. M. 3.2, Violin 2: original reading unclear; the transcription is a conjecture. M. 4, last note, Violin 2: possibly no correction, although the last note is written in a somewhat lighter shade of ink than the rest of the measure. See also the Tenor here.

M. 4, last note, Bc.: original reading is ambiguous—d or e—though e is musically more probable. M. 5.1, Viola and Tenor: the transcription is conjectural; perhaps a change of pitch is also involved in the correction.

BWV 77 -52Mvt. 1, mm. 76-77, SATB LOcATION AND Layout

P 68, f. 4r, 21 staves Staves 1-18: Mvt. 1, mm. 65-75; two 9-stave systems Staves 19-21: Blank except for the sketch on the r. h. side

SKETCH NBA 1/21, KB, p. 8 +} PA a re ——S c oh selbst u. d[ei - nen] Nechst(en] als dich | selbst

He —-_f #94, |G - 4} SI —————

NoTE

M. 76.2-3, Alto: the initial reading (especially for note 2) is hardly legible in the original MS, but compare the Tenor here.

FINAL VERSION (f. 4v) BG 18, p. 245, mm. 6-7

a

NBA 1/21, p. 13

re selbst dei -nfen] Nech-st{enjals dich selbst |

. selbst dei- n{en] Nech-st[enJals dich selbst Nech-st{en] als dich selbst als dich selbst | u. dei -nfen] Nech-st(en] als dich selbst

NoTE

As in the transcription, the final word of the text extends beyond the concluding double bar in the S$, ‘IT, and B parts in the original MS.

-93- BWV 77 Mvt. 3, mm. 34b-38, Soprano (and Bc.)

P 68, f. 5r, 22 staves

LocaTION AND Layout

Staves 1-20: Mvt. 3, mm. 13b-—34a; five 4-stave systems Staves 21-22: Sketch

SKETCH NBA I/21, KB, p. 8 iin epee peieetes ale Peeetrttee 51 2 a 4 4 en ene tens tt

Se ee ee ee —————— NotTE

M. 36.6 was apparently written originally as a custos and then enlarged to a normal note-head. The final note, 38.8, has evidently been altered in the opposite direction.

FINAL VERSION (f. 5v) BG 18, p. 248, last m. to p. 249, m. 9

NBA I/21, pp. 16-17 , 4 gS ei. ! — 5; a Ye f é # ef errr # . DS ————— —toF fete {ty el rn J

aa eeeee ee ee ere ee ee ee ee ee ee ee Notes M. 34.4, Be.: at first glance the original reading seems to be a (senseless) e’, but it is presumably the note b, crossed out with two horizontal strokes—one

through the note-head and one through the stem—resembling two leger lines.

M. 35.5-8, Bc.: the original reading is conjectural. M. 36.8-11, Bc.: conjectural; apparently so, but perhaps no correction. M. 38.10, Soprano: no # in the original.

BWV 77 -54Mvt. 6, mm. 1-4, Soprano

LOCATION AND Layout , P 68, f. 7r, 22 staves Staves 1-8: Mvt. 6, complete; two 4-stave systems

Staves 9 (and 10): Sketch :

, Staves 11-22: Blank except for a text strophe for the chorale written in Zelter’s hand (see NBA I/21, KB, pp. 9, 11-12)

SKETCH NBA I/21, KB, p. 8 Alio Modo -~

ee ee eee eee

FINAL VERSION (same page) BG 18, p. 254

) Choral ~

NBA 1/21, p. 22

Note : Although the first two notes of the chorale are quite enlarged it is conceivable

that there has been no correction. |

55. BWVMvt.81 5, m. 24, Bass | LOCATION AND LAYOUT

: P 120, f. 5r, 21 staves Staves 1-21: Mvt. 5, mm. 9-23; three 7-stave systems The sketch is in the r. h. corner below staff 21. SKETCH

_ + 3¢ fg — SSS SS aig

stume Sturm u Wind stu - me Sturm u Wind

FINAL VERSION (f. 5v) BG 201, p. 18, m. 6 (ver-) stu. - Sturm 1. Wind

-56- BWV 82 Mvt. 1, mm. 112-114, Alto LOCATION AND LAYOUT

P 114, f. 2r, 23 1/2 staves Staves 1-24: Mvt. 1, mm. 76-111; three 6-stave systems and one 5 1/2-stave system

The sketch is below staff 23 in the r. h. corner.

SKETCH * BG 44, Plate 53 pof golbah olf = — Jesum ans Herze Je-gedruckt a as sum ans Her-ze ge- druckt

FiInaL VERSION (f. 2v) BG 201, p. 32, mm. 14-16

Je - ans Her - ge - druckt .

BWV 82 -5/7Mvt. 3, m. 40, Bass LocATION AND LAYOUT

P 114, f. 4r, 23 staves Staves 1-23: Mvt. 3, mm. 16-39; three 5-stave systems and two 4-stave systems The sketch is on the r. h. side of the page below the bottom staff. SKETCH

algad =

FINAL VERSION (f. 4v) BG 20', p. 39, m. 6 Theil an dir NoTE

Note 1: as here, there is no 4 before the first note of the measure in the original MS.

BWV 82 -58 Mvt. 3, mm. 80b-85, Bass LOCATION AND LAYOUT

P 114, f. 5r, 21 staves Staves 1-20: Mvt. 3, mm. 60-80a; four 5-stave systems Staff 21: Sketch

2 eS Se ee ee SKETCH

4 SE SD C—O A A 4 en Cm 2 tle a An. schau - fen] sii - - -&[en] Frie - - de stil - le Ruh sii - @len] Frie - de stil - le

FINAL VERSION (f. 5v) BG 201, p. 42, mm. 5-10

nb — — lede@tS— a bLtD, page tt 4| aoe.

schau -(en] sii - - - &len] Frie - - de stil - le Ruh si - Rien] Frie - de stil - le Ruh |

-59- BWV 82 Mvt. 5, mm. 57-63, Bass LocATION AND LAyoutT

P 114, f. 6r, 23 staves Staves 1-23: Mvt. 5, mm. 18-56; three 6-stave systems and one 5-stave system The sketch is below the bottom staff on the r. h. side of the page. SKETCH

Fo oF F 4 Ff FF F 3

dg \cbabgi~P. edlf galdFlif§ gale cF —

sich schon ein-ge fundn ich freue auf mn tod ach

sich schon ein - ge - fun-dfen] ich freu-e auf mfei-nen] Tod ach

Notes M. 58.3: the rhythm symbol is not perfectly legible in the original MS. M. 59.3: the symbol F (= J) is presumably the result of haste.

FINAL VERSION (f. 6v) BG 201, p. 45, mm. 13-19 sich schon ein - - - d{en] ich freu-e mich suf mei-nen Tod ach!

BWV 85 | - 60 Mvt. 1, m. 13, Bass

LocaATION AND LAYOUT ; P 106, f. Ilr, 20 staves Staves 1-18: Mvt. 1, mm. 1-12; three 6-stave systems | Staff 19: Blank except for the sketch on the r. h. side : Staff 20: Blank

| SKETCH Le- b{en] fir Schaf - fe

FINAL VERSION (f. lv) , BG 201, p. 102, m. 5 Le - b[en] _ fiir Schaf - fe Note Bach’s orthography has been reproduced exactly as it appears in P 106.

-61 - BWV 85 Mvt. 1, mm. 36-38, Bass LocATION AND Layout

P 106, f. 2r, 21 staves Staves 1-18: Mvt. 1, mm. 25-35; three 6-stave systems Staves 19-21: Blank except for the sketch in the r. h. corner of each staff SKETCH

oo

Le - b(en] fiir die Schaaf cin gu - ter Hirt 1Ja@t

sein Le - bfen] _ fir die Scha fe

Notes M. 37.8: the 4 has been changed to h by crossing off the lower vertical stroke of the 4.

M. 38.6-7: as in the transcription, the last two notes of the sketch run off the end of the staff in the original MS.

FINAL VERSION (f. 2v) BG 201, p. 105, mm. 1-3

/ — ——2 ns ee ce os so ——_—_ #4 FF peo fe pe — i 9 rr

poe tebe retest sre., a

Le - bfen] fiir die Schaa-fe ein gu - ter Hirt 1agt sein Le - bfen] fir die Schaa - fe

BWV 86 - 62 Mvt. 1, mm. 40b-43a, Bass LOCATION AND LAYOUT

P 157, f. lr, 22 staves Staves 1-20: Mvt. 1, mm. 1-40a; four 5-stave systems Staves 21-22: Blank except for the sketch on the r. h. side of staff 22

SKETCH NBA I/12, KB, p. 78 FINAL VERSION (f. lv) BG 201, p. 122, mm. 11-14 NBA I/12, p. 48

ge - b[en]sowird ers euch ge - b[en]

- 63 - BWV 88 Mvt. 4, mm. 1-2 LocaTIon AND Layout

P 145, f. 7r, 21 staves |

Staves la-5a: Draft; half of one 5-stave system Staves lb-5b, 6-21: Mvt. 4, mm. 1-52; half of one 5-stave system and eight

aa a eS 2-stave systems

Parte 2da oo op | gy eee |

DRAFT AND FINAL VERSION BG 201, p. 170

ae ee ee ee oe ee ee

3 Pras ai aia ai” an 2” 2” a SSS Se ee ee ee NoTeEs

The depiction of correction layers in the transcription of the draft is conjectural. Although no multiple corrections are evident (1.e., more than two readings of the same symbol), it seems likely that the draft reflects more than two stages. Final Version: there is no time signature in the Viola part in the original MS.

BWV 88 - 64 Mvt. 4, mm. 53-57, Bass and Bc. LOCATION AND LAYOUT

P 145, f. 7r, 21 staves Staves 1-21: Mvt. 4, mm. 1-52 The sketch is on the r. h. side of the page below staff 21. SKETCH

4d Adghge d = 3 Fr 4F

3 2 32 7 schn fa —

Pd aA dd3zdadhhahfdh \GqaA |\D

FinaL Version (f. 7v) BG 201, p. 171, last 5 mm.

7.0 Ae" pl eh | —~— +}

65 - BWV 90 Mvt. 3, m. 8b, Trumpet and Violin 1 . LOCATION AND LAYOUT

P 83, f. 3r, 24 staves Staves 1-12: Mvt. 2, complete; six 2-stave systems Staves 13-24: Mvt. 3, mm. 1-8a; two 6-stave systems The sketch is on the extreme r. h. side of staves 16 and 17 in the available space after Mvt. 3, m. 4 of the Viola and Bass staves. SKETCH

FinaL VERSION (f. 3v) BG 201, p. 208, m. 2 NBA 1/27, p. 70

NOTE

There is no e”b in the key signature of Violin 1 in the original MS—again an oversight.

BWV 90 - 66 Mvt. 3, mm. 40b-43a, Bass and Bc. LOCATION AND LAYOUT

oo |e

P 83, f. 4r, 24 staves Staves 1-22: Mvt. 3, mm. 26—40a; four systems of 5, 6, 5, and 6 staves Staves 23-24: Sketch, crossed out

SKETCH NBA I/27, KB, p. 61 th fieere9 ene Teor fhSeIeesi ce nahr na rose ee ae eeee ce oe et ees 8 een0eee FINAL VERSION (f. 4v) BG 20}, p. 212, mm. 1-4 NBA I/27, p. 74

jai ae eee See a ee a

= SSeS SS SSS SS SS SS SS ES Rich -ter so [etc.]} < pT im sy ter d{er] ri- chen-de Rich-ter so [etc.] rT

BWV 91

-67- Mvt. 5, Opening Theme, 2 mm.

- 68 - Mvt. 1, mm. 10-13, Horn - 69 - Mvt. 3, Opening Theme?

-70 - Unidentified Sketch LocaTION AND Layout

P 869, f. Ir, 23 staves Staves 1-20: Mvt. 1, mm. 1-9; two 10-stave systems Staves 21-23: Sketches only; the sketch for Mvt. 1, mm. 10-13 crossed out

SKETCHES NBA I/2, KB, pp. 113-114

67, —— oe ¢ ; 68.

69. —_ 99

Sige See ee goes FE Ta oo ya pe PEROT Sas rerer tert ceerecer fer ecrenprencrener ctr acreter ince teres

4 s ryCSayeel| aaaeer, psle>awy P| IES 1 AFicedeetS Pe 2 Se aote = fn ae icess os ses Gree Se aie eel ase am ee we perce

a a ————__/- OT cakcelealend — ekinton lo

NOoTEs

Sketch 67. M. 1.10, m. 2.11: the prolongation dots are omitted in the original

M. 2.2: the thirty-second-note beam is omitted in the original MS. Sketch 68. The final note is on the edge of the page and barely visible. Sketch 69. The sketch is surely to be regarded as embracing a 2-stave system of melody and continuo. Sketch 70. On the contrary, this is a single-voice sketch: staff 23b provides the melodic continuation of staff 22b. No barline is visible after m. 6 of this sketch. M. 8.6: the note-head is enlarged and can be read as a’ or b’. FINAL VERSIONS

Mvt. 1, mm. 10-13, Horn (f. lv) BG 22, p. 5, m. 3 to p. 6, m. 2 NBA I/2, pp. 135-136

fire el rece ler rertrererererers: = tei ee eee Mvt. 5, mm. 1-5a, Violin 1 (f. 7r) BG 22, p. 26 NBA I/2, p. 157 .

G4 092" Saad ger Jaaal cee ler artes |p ree ee FS eS

BWV 91 -71Mvt. 3, Opening Theme, 2 Oboes, 1 1/3 mm. LocATION AND LAYOUT

P 869, f. 2r, 22 staves Staves 1-14: Mvt. 1, mm. 15-19; one 14-stave system Staves 15-16, 17a-18a: Mvt. 2, mm. 18b-24 (end); one and a half 2-stave systems

Staves 17b-18b (19b): Draft, crossed out, followed by the heading for Mvt. 3. and Sketch No. 72 in the r. h. corner of staff 17 Staves 19-22: Mvt. 3, mm. 1-7; one 4-stave system

DRAFT AND FINAL VERSION BG 22, p. 22 NBA 1/2, p. 151, KB, p. 139

[exoormovewenra) aa (ea

BWV 91 -72Mvt. 3, m. 8, Oboe 1 LocaTION AND LayouT

See Sketch No. 71, above SKETCH

FINAL VERSION (f. 2v) BG 22, p. 22

NBA I/2, p. 152

- 57]

-73 - BWV 91 Myvt. 3, m. 62, Tenor LocaTION AND Layout

P 869, f. 4r, 22 staves Staves 1-14: Mvt. 1, mm. 34b-39; one 14-stave system Staves 15-22: Mvt. 3, mm. 49-61; two 4-stave systems The sketch is in the r. h. corner below the bottom staff.

SKETCH NBA I/2, KB, p. 142 Fos — SS igg

NoTE

The rhythm symbols in the original MS are quite illegible. The first symbol

is particularly indistinct (the prongs of the F presumably blotted). The transcription 1s consequently somewhat conjectural, derived to a large extent from the final version. The solution in NBA-KB however:

Hl-d.

is highly improbable.

FINAL VERSION (f. 4v) BG 22, p. 24, m. 3 NBA 1/2, p. 154

Kreis zu_ klein

BWV 92 - 74 Mvt. 1, mm. 71-74, Oboe 1 (and 2), Violin 1 LOcATION AND Layout

P 873, f. 3r, 22 staves Staves 1-20: Mvt. 1, mm. 57-70; two 10-stave systems Staves 21-22: Blank except for the sketch

SKETCH NBA I/7, KB, p. 63 Notes There is a smudge after the first two notes on the upper staff. M. 71.5: possibly corrected from a previous reading.

FINAL VERSION (f. 3v) BG 22, p. 41, last m. to p. 42, m. 4 NBA I/7, pp. 49-50

ee et ee ——— pe ae

7 sett pp pens __ Notes M. 71.4, Oboe 2: no f. M. 73, first half, Oboe 2, Violin 2: there is a large ink blot in both parts rendering the reading illegible. M. 73.5, Oboe 1: the note-head is enlarged, legible as e”. M. 75.2, Oboe 1: the original reading is illegible. M. 75.2, Oboe 2: note enlarged, possible correction.

-75- BWV 94 Mvt. 2, Opening Theme, 2 mm. LoOcATION AND LAYOUT

P 47/2, f. 2v, 25 staves Staves 1-18, 19a—25a: Mvt. 1, mm. 37-47 da capo; two 9-stave systems and half of one 7-stave system Staves 19b, 21b-24b: Blank Staff 20b: The words Segtr Aria, otherwise blank Staff 25b: Sketch on the r. h. side of the staff

SKETCH _

Bao Aria ] :

Fina VeErsION (f. 3r) BG 22, p. 104

-76- BWV 97 Mvt. 1, m. 95, Violin 1 and Oboe 1 (Melody)

LocaTIon AND LAYOUT , NYPL, f. 4r, 20 staves Staves 1-20: Mvt. 1, mm. 83b-94; two 10-stave systems ‘The sketch is in the r. h. corner below the bottom staff.

SKETCH

eb= SS

.i

FinaAL VERSION (f. 4v) BG 22, p. 209, final meas.

Mvt. 3, mm. 24-28 (31), Alto and Recorder LOCATION AND LAYOUT

P 122, f. 7r, 21 staves Staves 1-4: Mvt. 2, complete; two 2-stave systems

Staves 5-19: Mvt. 3, mm. 1-23; five 3-stave systems Staves 20-21: Sketch, crossed out

30 1 EF ee ee ee ee ee eet ty af, i, | |° tate eee ee oe ee ee itor [| | be AY TT eee meee ed SKETCH

25 a cn 277 TT? , Sy =

is @- | | © Pe i a Sr _ SP ES ———— ES SS (FS Siin - dfen] weil man_ hier kei - nfen] Bal - sam wer _sheilt die Wun

FINAL VERSION (f. 7v) BG 23, p. 85, m. 12 to p. 86, m. 1

24 ”, 25 26 27ae Ka 28ee SS ————_—— oe eS mt A SS SS Oo SS 3 me ——taa et Ayeee = eehta—-* a a Aa AS ee- ee ee—ee Siin -d{en]weil man hier kei - nfenj Bal - sam hat, wer heilt die Wund[en] meinerSiin-den weil manhierkeinhierkei

-78- BWV 103 Mvt. 5, Text for mm. 36-59 LocaTIon AND Layout P 122, f. 8v, 21 staves

Staves 1-18: Mvt. 5, mm. 5-17a; three 6-stave systems Staves 19-21: Blank The text is written below staff 21.

SKETCH Melin] Jesus last sich wied[er] seh[en], o Freude, der [nich]ts gleich[en] kan; wie wohl ist mir dadurch gescheh[en], nim, nim me[in] Hertz zum Opfer an.

Note This “sketch” can only have served as a memory aid. The words, by the Leipzig poetess Christiane Mariane von Ziegler (published in her Versuch in Gebundener Schreib-Art Vol. I, Leipzig, 1728), are quoted literally in this movement. Paradoxically, there are no text “‘sketches’’ for Movements 3 and 4 in which Bach significantly altered the Ziegler reading. See Neumann 1956, pp. 140-141.

FinaL VeERsIon (ff. 9v—-10v) | BG 23, p. 91, mm. 8ff. , The text of the final version, mm. 36-59, agrees entirely with the version of the sketch and contains no corrections of the wording (although there are several corrections of the underlay).

BWV 105 -7/9Mvt. 3, Complete Text LocaTIon AND Layout

P 99, f. 5r, 21 staves Staves 1-2: Mvt. 2, mm. 11b-13 (end); one 2-stave system Staves 3-17: Mvt. 3, mm. 1-21a; three 5-stave systems Staves 18-20: Blank except for the text strophe Staff 21: Blank SKETCH

Aria Sopr: Wie zittern u[nd] wanken der Stinder Gedanken Indem sie sich unter einander verklagen und wiederum sich zu entschuldigen wagen So wird ein gedngstigt Gewiben durch eigene Folter zerriBen. NOTE

The handwriting of this text entry is difficult to identify; it may not be Bach’s.

FinAL VERSION (ff. 5r-6v) BG 23, pp. 131 ff. The text of the final version agrees entirely with the version of the sketch.

- 80- BWV 105 Myvt. 5, Opening Theme, 2 1/4 mm. LocaTION AND LAYOUT

P 99, f. 3v, 21 staves Staves 1-16: Mvt. 1, mm. 77-93; two 8-stave systems Staves 17(-18): Blank except for the sketch on the 1. h. side of staff 17, crossed out Staves 19-21: Blank SKETCH

oer eee eee eee FINAL VERSION (f. 7v) BG 23, p. 138

o> rr a OS SS a

BWV 109 -$l1Mvt. 5, mm. 78-81, Alto LOCATION AND LAYOUT

P 112, f. 7r, 21 staves Staves 1-20: Mvt. 5, mm. 29-77; five 4-stave systems Staff 21: Blank except for the sketch on the r. h. side SKETCH

lezt df{er] Glau - be

FINAL Version (f. 7v) BG 23, p. 253, mm. 3-6 (zu-) lezt der Glau - be siegt

- 82 - BWV 110 Mvt. 6, m. 19, Bass LOCATION AND Layout

P 153, f. 18r, 18 staves Staves 2-18: Mvt. 6, mm. 6-18; two 6-stave and one 5-stave systems Staff 1: Rejected version of trumpet part for mm. 6-9 The sketch is written on the r. h. side of the page below the bottom staff.

SKETCH oO FL yy ye

hh hh =

Notes The rhythm symbols above the last two notes are quite indistinct in the original MS.

The bottom edge of the paper has been cut off immediately below the pitch

symbols so that no text 1s visible. ,

FINAL VERSION (f. 18v) BG 23, p. 318, m. 8 NBA 1/2, p. 123

lie - der u. singt

BWV 114 - 83 M*vt. 4, Ritornello Theme, 8 mm. LocaATION AND Layout

Score in private possession, f. 4v, 24 staves Staves 1-20, 21a-24a: Mvt. 1, mm. 69b-80 (end); two 10-stave systems and

half of one 4-stave system Staves 21b-23b: Sketch, after conclusion of Mvt. 1 Staff 24b: Blank

SKETCH BG 24, p. xxi Note M. 5.4-5: as in the transcription, 4 instead of iz

FINAL VERSION (f. 6r) BG 24, p. 101 Notes An eb is missing in the key signature in the original MS. M. 1, last note: possibly changed from J to +

- 84 - BWV 115 Mvt. 1, Opening Ritornello Theme, 5 1/4 mm. LocaTion AND Layout Fitzwilliam Museum, Cambridge, f. 2v, 24 staves

Staves 1-16: Mvt. 1, mm. 45b-53; two 8-stave systems Staff 17: Blank except for Segtr Staff 18: Blank Staves 19-24: Draft, upside down and crossed out

Draft BG 24, p. xxiv

eS SS Se eee

5 — a allt 2 a 7? aa fy ee ee ee a

Iayatt ont nye Pa ie ° a. aa : my PP a ods

7 < ver ee NY “Pe tt “A we yaa ———_.{ 0S % a teflA [ohn oe -£> ea rfoyu fF ee oe TH . ~@ m ; ny TO, ee ‘Oe ToyoeOo

4al {> (922) eee SO 2bd ff Pie as ee anTER oo Se Se” 4° SS ee ( Gee i . Te ~~ 7S . yl — oeoe Lid~2ve 4A.Tab i.... aan ee , iZ. ny :2ry é.~ jh .er|: ~—WA . , | { ee Ae ee) be ~~ ere gf Greer ae 25 Zar seein) Tee

OTA a= PT Ee Se Se eek OCA ES 3s eT ee ee ota pT ied OOS 7S es ee oh Oh, (60 hte ee ee eet: —f~. 2 _ SUS te eer Ao OEE tee Pere CRC Hi iG FE co RRR A Pe ALTE aj 7 tape Le

- Ags --ce . oe engy-5ees . =Ss - __. a. - Pena ’ - re re py Pe mi aiiiceds See “OO ee - > L >{fi neOw as st® %..MM . -42—--—---— oY¥tene tt LL

aA— t| oo 9 : oe ao=p | rf==nea.neneededie, ae = ht YA pte ee yt ® RED geese ii tensedlicheretnres on eee : Saree ee ABE On aeTE Se ee fat Lome Ooa; eeeel rs eee SSacre —

i!—oy a Se nn et ES oe ere eee ~ —— “-s, a -h ey aay WT we » One .: —- -_ — ee. . - » iin & Maine. 4 -. t ~

- er oe

7 . . nl a on A a .. ~®

< _-Tp af eg + as. “Gee tee0.nee lee art: tet a” CAA/a a Aa , 4: abaBee toe . ‘eto . ~ | oMLM} .-. EE A weft: ae @ v, : eel | :oofof. pee IlI. Draft of BWV 115, Movement 1, mm. 1-6. Autograph, f. gv. Reproduced with permission of the Syndics of the Fitzwilliam Museum, Cambridge

-84- BWV 1/15

FinaL VERSION (f. Ir) BG 24, p. 111 J J. Doica 22 post Trinit: Mache dich, mein Geist, bereit

gi Sp pn spay se gi Lo RE po weak

Fe Tet Peete ot i coor rojoe pecetre yo a re i yt Metre tT Ch eereenecet Co cercercer teeth

Bo ey rE er TE ote te

ao Soot oh Rego? Get yp SS

a fess te pete te ote fa Pooky ee Notes M. 1 [Flute], Bc.: the original reading of the time signature is conjectural. M. 10.6-21 [Flute]: the original reading is very conjectural.

| BWV 116 - 85 Mvt. 2, m. 44, Alto LOCATION AND Layout

Bibliothéque Nationale, Paris, MS 1, f. 5r, 21 staves Staves 1-21: Mvt. 2, mm. 1-43; seven 3-stave systems The sketch is in the r. h. corner below the bottom staff.

SKETCH NBA 1/27, KB, p. 70 3039233 — . afte ate 2fe « Note There is a blot over the penultimate symbol.

FINAL VERSION (f. 5v) BG 24, p. 149, m. 4 NBA 1/27, p. 96

° Je -su selbst ver -_ langst

- 36 - BWV 116 , Mvt. 4, m. 27, Soprano and Bc.? |

LocaTION AND LAYOUT | Bibhothéque Nationale, Paris, MS 1, f. 6r, 22 staves ,

Staves 1-6: Mvt. 3, complete; three 2-stave systems Staves 7-22: Mvt. 4, mm. 1-26; four 4-stave systems The sketch is in the r. h. corner below the bottom staff.

SKETCH NBA I/27, KB, p. 71 , Rgageze _ a fe oF 2. Be eee eee

NoTE , )

There are three lines of notation in the original. The upper two have been erased so that the topmost line is now practically invisible and has been

omitted in this transcription. It may have been a jotting of the rhythmic symbols for the middle (soprano?) line or perhaps a notation of a third real

part. Ihe middle line is only partially visible; the transcription of the line | , here, where it is assumed to be the soprano part, is conjectural. It attempts to make some sense of the sketch in view of the final reading of m. 27. See

also NBA I/27, KB, p. 71. , |

| NBA 1/27, p. 99

Finat VERSION (f. 6v) , BG 24, p. 152, mm. 3-4 | (bekenn-) [en] uns-re Schuld

Ty. bit-t[en] nicdjts als om ved.

NoTE , | als um ge - dult |

M. 27.2-3, Tenor: the reading is conjectural. ,

BWV 116 | - 87 -

| Mvt. 5, m. 6b, Alto |

LOocATION AND LAYOUT , , Bibliothéque Nationale, Paris, MS 1, f. 8r, 22 staves

Staves 1-12: Mvt. 4, mm. 132 to end; three 4-stave systems , Staves 13-22: Mvt. 5, mm. 1-6a; two 5-stave systems

The sketch is in the r. h. corner below the bottom staff. ,

SKETCH , NBA I/27, KB, p. 71 ghd =

FINAL VERSION (f. 8v) | BG 24, p. 157, m. 6 NBA 1/27, p. 105

NoTE ,

| . Grau -sam -keit und | Un-recht ist Wohl - an

, M. 6.4-6: clearly thus in the manuscript (fourth note: e’, sixth note: f’t). For the source of the NBA and BG readings see NBA 1/27, KB, p. 101.

- 88 - BWV 117 Mvt. 1, Opening Ritornello, 16 mm. LocaTION AND LayouT

Score in private possession, f. 10v (= last page of MS), 22 staves.* The draft is upside down on staves 1-22 and is crossed out.

Drarr See next page.

Notes ON THE DRAFT

M. 1.1, Oboe 2: the note-head is enlarged, possibly changed from J M. 4, last note, Oboe 2: no # in the original. M. 5.2-4, Flute 1: thus in the original: FF] instead of FY. M. 6.2-5, Violin 2: both the original and final readings are rather conjectural. M. 7: the final notes at the edge of the page are invisible in the facsimile and are presumably broken off in the original. ‘The final two notes of Flute 1 are indeed visible but not legible in the facsimile. M. 12.1-3, Continuo: the transcription of this multiple correction is conjectural. * Since this book went to press the autograph sischer Kulturbesitz, and now has the call number: of BWV 117 has been acquired by the Music WN. Mus. ms. 34. All references to the manuscript Division of the Staatsbibliothek, Stiftung Preus- in this study should be revised accordingly.

a Pj l-

DrarFtT BG 24, p. xxxvll ee

e Continuo di Bach ' f) fae . on _—— é Ja r) ort r Ce © Se A — — La Seee) oe CSS eS — os a COBS na NS SYOS ff, Se rr TTr™—Se™—O J.J. Sey Lob und Ehr dem hochst[{en] Guth. a 2 Travers. 2 Hautb. 2 Violini Viola 4 Voc: se

, air yy AEC &vyft . vt ‘t‘trrtitysTi -Paa| | ff Te omQl TiOSES ttt fl UG ee Se | | |ee ft ge | pee ee a A2a.tflf as ee fi... nS OS OTIS... USED AOE RS OD SSef T_T a a ay ee ee ee ae ee

"Se'an.A——. a a ‘a PE— a 1aa—==Sam A A N/a iN YY Se a es SSS

: a ee

sGHLiA, | SEI.vf i=|. eee Ae eee eeaewr ee wt a AS, enTl0eed eetetaLt'!ee) 2 ee Pes ‘Pe i 4) mil y¥fyfy|y ty fyee TTT | | [#Ae wVFTsn F ~-2[tree Littlee "Ww Tt tT TT

é- A oWant inf Ben onl EES OE OD : SE es OSeeee eealt a De! hg esff et1 fT lett — Leeman {ft _{_} +12 f.. ee ree eee Oy Ee ES = Gs

— a a ° f - —— . ——= —l mo —_— ee ee —

O87 —¥!"--T-—- NHRORNRT_ANN™N{}T’{]}YPNnrnNnn.QNS—”"”-—— OS SS eee eee

f) » 2 of er ry 4a i —_ eee ee ae ee e

* 22 2 i Ee ee eee eee | |. ae ee 11.4ee oS CE_ae Tt B®;A.A BEG. )_46 ee 4 2 OPS.A ee eeePe sGHLi4 | SER Oo WEG or A Oe n° 2 70eee ee1.4 ee eee ee eeOK SeAe Pe4.2jfeee ee eeeeres eeee| i Sy ore ee eeeenentaee — beast ———— .

eqe__—_—E—E—EeEeEeEe————————————

~ “ ===——= . §. €aw. = . -ss F Fad . . : ' ‘ ° a u — ,

SEE ;} ww : eee. — ae - ee : ~~ @

bp nent epee eooemene>ar-onapue-amemseagaerecegeeecteeaanuanmenyenn en CRN .

‘ . a Pf ~SSeee ..

————— ——————_—_—— ar RAL ATT E, LLL eee

} Sltenagenuteaseationssscenpasemd Seat -- —< eeemeserieemnreen ee eR, ”

ce eee °i |2 ae eee aaa aS SES aaa a i SERENE RR . ; wea .eee “seeta a _TCee, ;

a, ee ° gee SS re, SS a Fe @ am. 7 SS? SA A AR ee TTT TINE, TN sare eee ad

Sitnenssenesteeee

* - ey voFreeney at - wa ae. :meen eo eaten . . ww —- —. =, . .

]

otx Baie ry wirs8606 2 * ! \ ofSlC~ -Y.. on ,Ne(‘a;a eeaSmaeee . aLE

NOTES

M. 2, last note: possibly originally c’’#, not d’’. While the visual impression suggests d’’, the essentially step-wise character of the theme argues for c’"f.

M. 4, last note and m. 12, last 2 notes: these are on the edge of the page and practically invisible. Consequently the readings here are largely conjectural.

10 # h FinaL VERSION (ff. 18r—18v) BG 13°, pp. 63-66

Fo epee of ter tee bab is aa ee ee 5 —~ = 9 i ee =ee Os ee NBA I/38, pp. 241-244

Note

M. 11.8-9: the initial readings are somewhat conjectural.

BWV 201 , Unidentified Sketch: Mvt. 1, mm. (100—)106, -128Violin 1/Oboe 1?

Mvt. 1, mm. 108-110, Soprano -129LocaTION AND Layout

P 175, f. 7r, 19 staves Staves 1-18: Mvt. 1, mm. 99-107; one 18-stave system Staff 19: Sketches

SKETCHES NBA 1/40, KB, p. 97 | = hin u. _wie-d[er] schall[en} Note There is an illegible word under mm. 3-4 of Sketch 128.

FinaL Version (f. 7r, mm. 105-106) BG 11%, p. 20, mm. 2-4 NBA I/40, p. 136

FinaL Version (f. 7v, mm. 108-110, Soprano) BG 11°, p. 20, mm. 5-7 NBA I/40, pp. 136-137

hin u. wie-d[er] schall{en}

- 130- BWV 201 Mvt. 3, Opening Ritornello ‘Theme, 6 mm. | Location AND Layout P 175, f. 10r, 18 staves Staves 1-16: Mvt. 2, mm. 9-27 (end); eight 2-stave systems Staff 17: Blank except for the words Volt: Aria Sequ Staff 18: Sketch

SKETCH NBA 1/40, KB, p. 98 FINAL VersIon (f. 10v) BG 11%, p. 27 NBA 1/40, p. 145

-131- BWV 201 Mvt. 7, mm. 89-90, Bc. LocaTION AND Layout

P 175, f. 15r, 20 and 1 staves Staves 1-21: Mvt. 7, mm. 28b-88; seven 3-stave systems The sketch is below the bottom staff.

SKETCH NBA 1/40, KB, p. 110 jth gee = SRE fpr eE

FinaL Version (f. 15v) BG 11°, p. 40, mm. 18-19 NBA 1/40, p. 158

BWV 204 - 132Mvt. 4, Ritornello Theme, 8 mm. LocATION AND Layout

P 107, f. Ir, 24 staves Staves 1-14: Mvt. 1, complete; seven 2-stave systems Staves 15-22: Mvt. 2, mm. 1-19; two 4-stave systems Staves 23-24: Sketch

SKETCH NBA 1/40, KB, p. 66 7 ett eS AEae GSeae 2 VE aa ne eeee a ae ee ee es Gee ee a2 aa oe A aeeeHe

y a , Ae, —_—S aes ee ee 1 . —~ —— on — fief Le? elt fe tel cect plan eee ee Note M. 5.5: ambiguously placed; could also be read as g”.

Fina, VeErsION (f. 3v) BG 11°, p. 114 NBA I/40, p. 90

Aria Violino solo ss et 4 ye ee re a pia eeS-tee ; —_———e _/ 3 eee _/ y/

(PeeeFie pegeee PT FR ee ee ee eee PRSe ee ee a) aQ______» Se a ee ee eereeeFTeSdSDae ee es eS ee

(pipe ines—Sa a = : / ie a Sy, p)—_____»______ FFF, PSS === _ SS =e SS ee ee meee oo epee =~ S —___

- 133 - BWV 205

Mvt. 1, mm. 7-8, Bc. |

LocaTION AND Layout

P 173, f. lr, 18 staves Staves 1-18: Mvt. 1, mm. 1-6; one 18-stave system The sketch is on the r. h. side of the page below the bottom staff.

SKETCH NBA I/38, KB, p. 12 *BG 44, Bl. 39

gfgpeded3h3h|AzdheE - Myltetrrpreraes yao |

FinaL VERSION (f. lv) BG 117, p. 140, mm. 3-5 NBA 1/38, p. 4

Mvt. 11, Opening Ritornello, 22 mm. Location AND Layout P 173, f. 30v, 18 staves Staves 1-2: Blank Staves 3-18: Draft, upside down and crossed out

DRAFT *NBA I[/38, p. viii

ajg erySe ee eee | pees | | ff

pat | ff ee ee ee aot| re peer| |ee || *BG 44, Bl. 40

Aria AE ol[us]. con Trombe Tamburi é Corni.

oS a i ——————————— ————————————

= ee ————————————— S42 er? | ele ET OOOO eee

fT

aa ee ee ee ee et Perri? Cieee — a al oS a a race — _ pice ene ote cepmety ee 5

_ SSS a SSS a ee ee ee ee | ee See

eS 5 — — — — — i 2 a as —— —- — —. —- 2 O_o f}

—__———————————— Le a ae ae SS ——————————————————

———— ee esaeen ane ae ee cp —segetecshetBe tPtes. .ee —|ee || gs2esesuaeade eeSSie

-134- BWV 205 Notes M. 12: conjectural; the sequence of readings may be the reverse or even intermixed, for example:

M. 19.1, Bc.: the note-head is enlarged.

M. 20.1-2, Horn 2: the note-heads are enlarged. FINAL VERSION (f. 25r) BG 117, pp. 196-197 NBA 1/38, pp. 57-58

Fg — ee eee ee ee ee a =. = ep ere ~ ——| = ee eee

———— petee S| el CU aeee ee ee eee eee ee ee eee Aria AE ol{us] con Trombe Tamburi é€ Corni.

a —st—rTt—f | — aoo a a=aa—— 4 a7 DR -pt98 +aTs Pp ¢hl Setwy” y8— 4ae °anina” Brs 1it°omae ’ges. ~+vLat ei.P} »~coe oR | ey +*eoae7AJa Av — mt :— 1} ‘ma. vomFEL} phan 7EY. ae )

+ - Saw \ . \aorpoSel“eten, et | 5 212 yest ee 7 o> a ere a9 _. rT edtewm adieer Ith, tent AT, ion 2© panWw ok Seatte ULULULULULU® es 44-44} ,i :/ aoe ee Wis 5 7Mb ORi"Aaltar RR EY° |

a an —_ 20k MB 4—_-. is HB ie 7 =tt aa wr came eaan © fe SHE 4’ ‘ Ss = IE SCN tal ladles Ze shh PS AY AR. —a i=: eS as San a tt SS ae per er -- 22 am BI ars ae = : a Ane om °Ssea—_ ee ge eetapa ——— eyzseel j ——O = |. | wae — 27. saw a — -C— et * oe eee on ee ae pp oom" __t tn tit:

[vnpre om —wa . =ot —Z vo , E—— — id tS a———— ee _—ann =sanePt;

De. 6a Oana aEF — Se+ er reat _..SeaGre s awe Lo |sse __a a.core te FSST 5 ISEES I hase TT Ca CD 2 ~~|

==Gama ©. —_ ——, GREELY ween Ganev 2S 3s re | aoe Sn orn ouras @ LI Aadh — 2wr ce LT 7S mney ee es wa)bee KK) [ ooneinel 'CY Baw ~Laa)ia Te he er A —_wry7 - --—fa oa | iP oe fe =eti aw Ay] «o-sa5- aed oe Aarne

eo a Ree et ; penne s ne i: Ceres wa TJ mo. a ————

i-— * -S22 ett= -pat hh wg aw SS 8 8Pt ee bs owcta —_ 7 + ene « anf

t wee wore oe 7 ; oo i eee hk Coe eee . 7 rrr |

'

VI. Draft of BWV 213, Movement 11, Theme? Autograph, P 125, f. 15r. By courtesy of the Deutsche Staatsbibliothek, Berlin, German Democratic Republic

- 143 - BWV 214 Mvt. 3, Opening Ritornello, 15 mm. LocaTION AND Layout

P 41/2, ff. 2v—3r, f. 2v = 24 staves, f. 3r = 25 staves FP. 2v

Staves 1-16: Mvt. 1, mm. 55-64; one 16-stave system Staves 17-24: Draft, mm. 1-14a; one 3-stave system and one 2-stave system

Pf. Sr }

Staves 1-16: Mvt. 1, mm. 65-75; one 16-stave system Staff 17: Blank Staves 18a—2la: Draft, mm. 14b-15a; part of one 4-stave system Staves 18b-21b, 22-25: Mvt. 3, mm. 1-12; two 4-stave systems

NoTEs ON THE DRAFT

The following readings in the transcription are conjectural: M. 7, 2nd and 3rd quarters, Flute 2; M. 10, Ist quarter, Flute 1: possibly an intermediate reading; M. 10, last note to m. 11, 2nd beat, Flute 1: multiple change, not legible.

A ut=éroo 4 tr DRAFT AND FINAL VERSION BG 34, pp. 210-211, xxviii

8 14a TT te

NBA 1/36, pp. 124-125; KB, p. 90

Travers Aria 1

wb a Fyee 3} ee aaa ee es ayeS oy See PY 1.28 PT a 5 0 (CiCi?i ae se ee——— 20> a es—# ee apeOo OE*ey 5 eloO eeeg EEOe ar ep —E oeFDO EE *Eee —_} 8-8; et ty es T_T EE _(HoOouwW’'"'--.:-.-0-'-0-.-+1+w78 Lo a EP Poo 2 ST - YS FY | die |

aNereSens eS en a SSee 2 2eee as a ae ( 2!aame ;oO ”re all — 9ee ’ ~~ iia eS ee ——_ rd — SE (be ed ee ee eS TO es a os ee AS Se 22 ie oo ROY 1 es a eea —.satan Ee. +ee eS OEE SS eS ames haere a —. . A roo EOS I oo te oe ele ti ed Blage dhe | wohl Bf ope fT OO OT renOSetA aSSSS I IanNK.2.020200 TET 9aAooo eae OOO I) AGAsee COSee in cece sre soma oA”OT A —— TY AS A A AS, A OS OO al SO NY A A EB LS SSeos NS MR FA SO SY GN ”A pa a YL OeeeLULtsi“‘C®OOCOCté.Ci‘N) ito Cs :C“‘$$CONCOCNCN“CO(NC(N#NSN.CSC pe Tee fj TE

D> 2°?A a eee eS 2.464 =e ee DP.A od ee 2 4 2 ee 2 eeA ee.SO ee Lees ee ee eee SO Oe ee SN ee OR SSeee.SOS ASeSS VS —— Sa A eewl AP

14b 4 | ae SS A Se A ha a at =| Pe? © (,Ppva,t ft © @- BQewiet- (tt 2a. ws ~a 2? 2? (Ct? oO Oe

dcishcisdh]|d cis cish aN OOO SS OOOO OOOO eee EFT TT OfSE oe SS AS ee eS nS (SS SSmw SS™—— — ——

LS eS es a a a oS Te a ol — — re Btnee a eSYe eee Oe eee. eee ee eee1 2 eee eee eee aae Pa es a ee ee PY ee OY 2 eS... TT ETT Oooo aeee BOE Ceo ek OP IS SS A SS a SS SS SS ee po Arla ree ee eee Pe oy: ee Te OE OOOO —e I— Dore1.eeao 91 oroeIOO ya ioe"SS oe FOFT#E]_-—— i"ie..7"wwW” 3 8 OO EE OOO Oe 2 d-——_ —oF>OO OTD oe ESrhnt OT eo EEE OO 8EEE EoTE—EEE EO oT TE

TON eeaes Se o_o ce Ss a, a CisEO .. 1 2 A se Jeee Ba a i a= oe a Se oy oeee aeSS 2= aes

6 12 15 po oS aee te _Peses Pe ORY GF «A A SS) a ee a es WC ooo —c=m>E:s”e WL ¢@e FS A A SS AY 1S A Se (a grifnfen} Floren] Cees Deen nn Qn 4 a es ee —_ eS 5 SS OS “Od “2 A 2 aaSsea”Oe a Sd os IOoNSaa a>DE BOT eee tO oOo Oooo Oe IO SS aA— aOT Xv8os —Aey Ss Se SsCl Ai

i et 2 rra ri Ee 9sO 0 a aee rt dl — pr |__| FnSS ____ ofl ft oat ES Fs hn 2 2 Sec a Eee eee eee 7 ee ee eet eNO 8S ET EE TION a a PS LE CD SOS

0 TS OF TS OS AS SD eee SSS SE OS OG SG A hh A Od ll 7 Ch: CS Se, ee 1d Pe 2 a a a 1d Ad Pe 1 a Pe se Se 1 Pe 2 2 ee

0SLTA a os 0 nes A 1SO es A SS SS wd SS SS SS cme

S| ars SS (| ~ S M MOS OE MO Se © el iLesee ss ae a Se a See — hc Ae A (PD UU UU UE lage die wohl gegritlen)}Fi6t(en) et er 8 ee iaTE OO ftae 89a 1ee Ot —_"___\__ Fp aee VL AO A_SS Seee a ot ey ay 2S Syee ASS es =~ Ee eo ew * ee Soe StOE YE ooAeS ES eeSeSot ee =—_1 ee 2

-144- BWV 215

Myvt. 1, mm. 192-194, Soprano 1 and 2

LocaTION AND Layout |

P 139, f. 8r, 22 staves Staves 1-20: Mvt. 1, mm. 180-191; one 20-stave system Staves 21-22: Blank except for the sketch in the r. h. corner

SKETCH , NBA 1/37, KB, p. 32 FINAL VERSION (f. 8v) BG 34, p. 268, mm. 6-8

| NBA I/37, p. 111

NoTE |

. oS 7. = 1 — EE

A —————— he he ae ee ee

SE edauranedene or me ’eee i ——afond {a NoTEs

M. 1, Violin 2: the correction of the heading is written directly on the first reading in the original. The readings have been spatially separated here for the sake of legibility. M. 2, Viola: paper damage.

-* 7e a

awe nd Od: we eee ——— “3 ma ° Se. ne ow oe a. - ee . : 2 = 5-22 SSS : oT Sa a aS : ’ on ’ we 3 ea ae Fa eo oo a Te ea eee 4—=

$Y Ng iptce Veg bn yercls geo te2} } vo VY) , UA use ») “4 ; . = ee ‘ ae a beatae =~. amen ;eope oe oSSMM. cweemee oo. eee ee es- .SS en ra aa ee SNws ae ee ne aJ-.‘

Pk. a? A en eneeen ee BDO +h —— iat 1 kee eo op}oy liad peated a. . ae OO a 7tear OS UE OEE OS Om Ee GS ES oe GE GY as a oo; aD ae a Cl a rf . | dd aon 9 < re 1, ‘o_ ” a aa FOF ee LD SS Se ow -) = :|i

a a Ce 7 Aaaaeoedet a —.—-— an oa = a = Oe ee we a a ar. S| NS -o-ductieat

> aT a. a i Jee. ———— =

: ad _——~CE ‘a.0 ey - ae aap Wms pf ae fee “2 ar «> Eh OSE! mk VCS ae SM Oe a

“ ean anm - Sen eer . on cee 0 6 ee ee ee Oe eee

eas ances eer er seams : SS Sa a eee a ee

- ,a‘SS—_ ' , Sea ' eresGE » iS SS SS 2 eet

rv7yY \ UN AN vry! .gy = hh ar rt eo ae ky Vv ni i v 4 -_—asrw ommmes.at+ blake al OS oh | en a OeGe a8 ee. ae ae ee ao aes pt Cy ———____ ae (ie CmsOEE am.GN Saamene UEA=otED 7 ae Cee0 Ge

.,Z-— - eS Ane. ——— a a ve . ; ae ae aa See eet esse see arenes Lae Sela ee aw oer aes . oS ; pan) =~ aun o @uene wae G8D ; “+ a _S=22-S55:2S=S5:25=>'>-—== ; an el -- aon - 2 Shee ab sans.

/Tp . 7 , . i w / x : v ; gd a ee ee oe -| : ww \ ’ / Vv | _ 1 wv \ OS Ee ee ee a c a pg pt ae eh° tr ene .| os ;¢ : »eee ~ .at-v. t: arr i 1)ge i Ee ' 9 yy — WES e fn a oie as aaa aaa EEE ,&=~~|af-_— -~ > | ~ Se < ay SS TT on ee '—e . 'Seee eS, / \5Site ’ —_ -_ ,pe : J | et ee ee7)eee Gren 6 GED one «. wean me - wee .

.)a°bs.

4 GRRE CRE? 2 CS. OP aoe © ee eae 2: ee 7 WEES | Gansune. Zones ees ee ee ot ae —_ wee Mat OS

ee a ow? BaD Gr Sas www ~~a ay Os . om ae(rr? TC. SF -oe LA4.-= Ee Benahe GQe@p Bas eG@rrms’[email protected]” pT

em : © 7 ~L- -SF La Li. Te =aBR np neamay —- oo eeneraoe -| AR th BS ane ot roma

' } seen ana=Ses © a iianasss a aanacere anes asuenines a +t sear- ee =\ sacOi cscs: (ASRS eGee iomy eee vee: == Oo ome po} — dl 04 —-—— nomecous cm nw sa ey oe ew . ~ .

te iiftért a 6ltEoyeSSeT letoe—2 ees oeeeee+O‘ Se ONS) A a a we _ os se sme . oe ene - ~_7 er 4 _- 9 Wee, . au “e ~ ‘

¢ {.. nn. = OD a Se Ee Oa ae seers © eee 6 sae 6 oe Wes oe eee “—~—

~*~tt SS ry fap —"—- Fg omft ——) — + itasa or =. = =. . at+($44 ov. aumfapiece 4 —ww o. =re a wn

7~ “fne-= CT 7" o™om te steer a cmer 7 ae ae A of iiaaaneane ©*a‘aapren FS eseee oe = o aSe oe (fof ee EE— el OT eS eS

ape ame” ae, a= — ib O Se |~—— osneawe 0 ' = Ns aS aaeLS Ve

AL. oe or het — eT oe a oO SL. SS ee a

ir AN ~~ man tenet non = ——————— rs VIII. Draft of a cantata for Quasimodogeniti, mm. 1-7. Autograph, P 122, f. 10v. By courtesy of the Deutsche Staatsbibliothek, Berlin, German Democratic Republic

-150- Choral (fugue) Subject 10 mm. LocaTION AND Layout

P 111 (= BWV 49), f. 13r, 13 staves Staves 1-5: Blank Staves 6-7: Sketch, written in pencil

Staff 8: Pencil transcription (apparently not autograph) of the first three measures of the sketch Staves 9-13: Blank

Bat eae aa SKETCH

Mei ne Hl fe im) fey Mi-el uv S*«sden)Sge-

NOTES |

SEE ge - macht hat

The transcription on staff 8 of the MS is as follows:

Mei - ne Hil = - fe komt om Herrn | M. 1.2: the final reading looks more like c’ than b, but the tablature letter h is perfectly clear. But compare the reading on staff 8.

Aria in D -151Opening ‘Theme, c. 6 mm. LocATION AND Layout

P 89 (= BWV 79), f. 10v, 22 staves Staves 1-2: Sketch for Aria on the 1. h. side of the staves, otherwise blank Staves 3-15: Blank Staves 16-22: Sketch for BWV 183, Mvt. 1 (see Sketch No. 116, above) SKETCH Aria

- 152 - Choral Movement Opening Ritornello Theme, 12 mm.

7 a Ad ee ee peg eer eee aee a a a ee ee ee eee eee eee eee ee ee ee ee ee Se eee seg — | es a es a Location AND LAyoutT

(P 612) (= BWV 1062), f. 18v

DRAFT

NOTE

P 612 has been lost since World War II. The location of the draft in the MS is cited in Spitta II, 797-798. The transcription of the draft is based on Schtinemann 1935, p. 26.

BWV 232'! (Sanctus) - 153 Mm. 48-53, ‘Tenor LocaTIon AND Layout

P 13/1, f. lr, 23 staves Staves 1-17: Mm. 1-6; one 17-stave system Staff 18: Blank Staff 19: Blank except for the sketch on the r. h. side Staves 20-22: Sketch of chorale melody for BWV 133 (q.v.) ‘Staff 23: Blank

SKETCH BG 6, p. xxv ma

, ple- mi sunt coe-li [et] ter-ra glo - - - -

Mm. 46-53, ‘Tenor and Bc. - 154 Location AND Layout P 13/1, f. 4v, 21 staves Staves 1-17: Mm. 41-46a; one 17-stave system Staff 18: Sketch Staves 19-21: Blank

SKETCH BG 6, p. xxvi

ese — 7 ES 7 — ae = fais feels J,

Norte

M. 47.1,4: thus in original MS, presumably the result of carelessness.

FinaL VERSION (f. 5r) BG 6, p. 254, m. 3 to p. 255, m. 7 | NBA IT/1, pp. 240-241

9g en eo Ee eet tee 6 He ee NOTE

Mm. 50.3-51.6: conceivably originally J J| JITITI| changed to Fa) FIFTH

- 155- BWV 2321!! (Sanctus) Mm. 17b—20a, Continuo LocaTION AND Layout

P 13/1, f. 2r, 23 staves Staves 1-17: Mm. 12-17a; one 17-stave system Staff 18: Blank except for the sketch on the r. h. side Staves 19-23: Blank

SKETCH BG 6, p. xxvi FINAL VERSION (f. 2v) BG 6, p. 247, m. 2 to p. 248, m. 1 NBA II/1, pp. 233-234

BWV 243a - 156Myvt. 4, Theme, 2 1/4 mm., Bass LOcATION AND LAYOUT

P 38, f. 5r, 21 staves Staves 1-10: Mvt. 1, mm. 82-90 (end); one 10-stave system

Staves 11-19: Mvt. 3, mm. 11-24 (end); three 3-stave systems : Staff 20: Sketch on the |. h. side; the word Volti on the r. h. side Staff 21: Blank

SKETCH NBA II/3, KB, p. 60 ofmn}esofmnjes ge-ne - ra-tl - on

Finat Version (f. 5v) NBA II/3, p. 25 o[mnjeso{mn]Jes ge- ne - ra-ti - o- - ~ a - (nes) NOTE

M. 3.1-4: the initial reading is somewhat conjectural.

-157- BWV 243a Mvt. 6, mm. 15-16, Tenor and Alto LocATION AND LAYOUT

P 38, f. 7r, 22 staves Staves 1-4: Mvt. 5, mm. 21b-—34 (end); two 2-stave systems

Staves 5-22: Mvt. 6, mm. 1-14; three 6-stave systems | The sketch is on the r. h. side of the page below staff 22.

SKETCH , ! *NBA IT/3, KB, p. 65 *NBA II/3, p. vii

OP PT;

cy Po [PI3¢3. Se eS ee , timen___tiby = ti - men _ ti -bfus}t babecba b

Fina Version (f. 7v) NBA II/3, p. 33

2 — ee rd es ti- men - - st] Eom 19--b-—__—eP@_# es ti-men- - - ti-bfus]) E - um

@ ss1, | 2 _ 22) |

BWV 243a - 158 Mvt. 8, mm. 15-22a, ‘Tenor LOCATION AND LAyoutT

P 38, f. 9r, 22 staves Staves 1-15: Mvt. 7, mm. 17-22a; one 15-stave system Staves 16-21: Mvt. 8, mm. 1-14; two 3-stave systems | Staff 22: Sketch

ta—SRP Nie C—O et eeeae »_” SKETCH

po - - - su- it —_— po - ten - - - -tes de se- - - - de FINAL VERSION (f. 9v) : NBA IT/3, p. 46

(de-) po - - - su-it de - po- - - su-it po-ten - - - tes de. se- - - -de et

- 159 - BWV 243a Mvt. B, mm. 11-15, Soprano. 1 and 2 LocaTIon AND Layout P 38, f. 14v, 23 staves Staves 1-15: Mvt. 12, mm. 27-33; one 15-stave system Staves 16-19, 22: Mvt. B, mm. 1-10; one 5-stave system (interrupted by the draft)

Staves 20-21: Blank except for the draft on the |. h. side, crossed out Staff 23: Blank

DRAFT NBA II/3, KB, p. 62

,—| rigeeaade — ; ==

po = SS ee Se eee eee enn

FinaL Version (f. 15r) NBA II/3, p. 30

4b pf... fe. - —_—-

freut euch u. freut euch ele freut — euch — ju - bi - firt _—

- 160 - BWV 248! Mvt. 22 LocaTion AND Layout P 32, ff. 23r-23v, 22 staves on each page Fr. 23r

Staves 1-11, 12a-22a: Mvt. 21, mm. 58-65 (end); one and a half I1-stave systems

Staves 12b-21b: Draft, mm. 1-3a Staff 22b: Blank except for the word Reczi Ff. 230

Staves 1-9: Conclusion of draft, and final version of Mvt. 22 (on staves 6-9); Draft: one 9-stave system; Mvt. 22: two 2-stave systems Staves 10-21: Mvt. 23, mm. 1-5; one 12-stave system

Staff 22: Blank |

-160- BWV 248!

ee: eS Draft AND TEXT OF FinAL Version BG 5%, p. 89

NBA II/6, *p. ix, p. 102; KB, pp. 44-45

XO See = HS ease TS SSS (SEUSS SSS SSUES OS SESE RSS

Basso aPt _.- aoopp . tt Bp Bega ee eee ee eee USS Sp Qa fo Regie 0 SSS 4 So recht, ihr | En-gel jauchzt u. sin- get, da es uns |heut so schdn ge

SS SSS —————————EE = Recit So recht, ihr Engel jauchzt u. singet, da es uns heut so sch6n ge

inget. Auf deh! Wir stifnfen] mit euch cin, uns kanes sowieeucherfreun,=SSS*~S

Note In order to provide a clear picture of the layout of the draft, and to illustrate most unambiguously how the final version was worked into the space of the original draft, it seemed advisable in this instance to reproduce the text but not the notes of the final version in the transcription.

-161- BWV 2481!

Mvt. 26, m. 17, Bec. |

Location AND Layout P 32, f. 26r, 22 staves Staves 1-16: Mvt. 24, mm. 26-38; one 16-stave system Staves 17-22: Mvt. 26, mm. 9-16; one 6-stave system The sketch is on the r. h. edge of staff 22 in custos notation. SKETCH

FINAL VERSION (f. 26v) BG 5%, p. 107, m. 8 NBA II/6, p. 124

7

BWV 2481 - 162 -

Myvt. 31(a), Opening Ritornello, 29 mm.

LocaTIon AND Layout P 32, f. 31v, 22 staves

Staves 1-15: Draft, crossed out; two 7-stave systems and one staff Staves 16-22: Mvt. 31, mm. 1-29; two 2-stave systems and one 3-stave system

sy 21) SS eee Se| ee| i Pte! = SS ee DRAFT NBA II/6, KB, pp. 50-51 *NBA II/6, p. x

. f ee . aee—~ # aa ne d cis ~ —— 5 (ee ee ee ne ee ae eee ete See NS) SO © eel = ee Se A a ( ah, a — —— — — a «NS Aria. due Trav, 2 Violini, Viola e Alto.

vteeelegelf || | eee | Sse 2 ee ee ee ——— ——— ella tele tle lorcet el _— | | |

a Foe 2 fh | 1a a Viekie lr leah i pa ee = J nA YY ES PS Rs HO A

Se OO A A Pe

meacanet terionarittel | |e 25 peeteae sea tec} ee a| tee SSS poe -_ moteee _ a OPP rt e_@ eee —— eet J, 2, 2tee es 4 “the ae ttSSS Tee eee ee LY eeSRee 7

aes a ee ee a = = = ag a es Se ee eSeS es SS EE

Foes ft relate BY, - ————— — Ss ae eee— 17] es

ee eee

. —— = — Se ———————

— — = —— — —_ : on

ec —-|J--—---—-~— --f-- mere ee a ne cn —_——___.

-} ro SO NTA SASS cc aca Seeeeissaitssinnnnsnnnnvtnnnn) Seissiiininnnanina —

ghee 2 SS ee ————— eo MM we a a ce ER Se ee cen ete mannan ann vo coee on nn nn

apee Ungtyora. .~~, oo wh O14 “4 a) 7 : * N . Le . EET Stythee et te atti 1g th pet i > > “enna ae nee Oa ~ SP TR wee K ¢ : Ma: P- ' Pa t a i, f.. '‘: | wae d wv ‘ nm:us!. y|- Be q Te . ‘ee on x~ Y :—

7. eet Dw ferd SS Ree eee as \. ne. y 7 me r { ° - 4 4 Fo . A t

:A;fee To STS _ar a . ; — ee ee CF OST oe ae peOU osee

PSD fonee9aeaia eee tart -= c bam ee od N {2 ' ” oe { ‘ a|Ai ;i; aero :”.-7,

oH ~~ a: = | 4) 4

!ES : me a ee ee (| ! SS Sy OAT = We Pg te ee ee $f ae es S eed

“Te gees a, Oe PET DOR op TEs

See tS mbnyep ° aon + Enns “Tis ernes Geeeeeneere to emoh a . —~.... we, cue

' OF-~¢ 4S- onae. ~.: .ao2am)yy, . wo ek ra a ‘ : ee seen ~ ol

5 ee ED eset Fs i ee St oe -) pr eee aa rT) | TT oe eth 7 ‘= 47» Tene ae 4 om ss. aeda “aN é oe or aNU° ahe’oO odLe

fF s | , f . . / ~ . ° ; Pt , ™~ ee ’ ||:14 J ~ | v Se 1 we i ea = _. 4 !Io| —a —— ey

ip ete I.teee NS aa fS+H wv “a i, y, ! 5 '4Daa a : saat $6of= pene alee : tor ; : nee | 2 an ~ ’ aA ‘ ~ ; a | Loh 2D Mee mute NN a gee espe ae ee aa Qe CBT EE Tee me ae gem are si ea a

“ * ote _ . : : apa 4 . . _ j= _~™ wwe. eee.— coe -~ —we — _—_=4 ‘ y ‘_ ~ mean i ee . a ee . ~~ 4 a 'stJ i,' ~wants at eee mo -s_rf aifcae : i ! FE _ .dee ee. ntrnemnsee =~ 20+ pment he : ‘ ~~ ‘ Crane «+ \—wuptnes =< —wam = ae TRE ot evenmeeeunee-nemmnonneiigs . — TR —=

-. co aained « ~enmen — ~~ wv eaeree- eemmemme moe cant oe . . “~-. Sn.. ST eee rory meme

, ( Pry fe DG eo LS === ——=F

sen— wegen ee ee a pnLg =: fa ——= Hesn-€Nn nS ee—~— aete — 2.

at o Ll ' t ee 2

wr == - - (-. _ ~ 4 ~~. : =o wee me ee i gn EOE I CODELLA A ~ meee 9

a ‘ . [ ‘ p.

ciaPA: mgs —— é: = 2 5 a Wek a or F% ce' ae eS eeGy ee ee ee ae eee ens ss aes ana eet [TEES Glare 6 OY cE NS ‘ ag aS | ES | aT AD ES ' +t z ” +4 2 27 mw oe.we . or!‘ 10 infeOP OE. a ~—e feTT ~ on- (PED ere) ll — -e ~ fee ED © ae a | a abe +4 -Te be meal A \ “ e@ ~ ~~ — ‘ AW. - .Oe SsAemer meee ee “~ _ee om.oe —_ TS 8 ee Ty ae ng i. nes . '¥ etn ttre ite ie eo ed ‘fy se Te ae mm iG >) tt ++ ABN eS TS ee yt Sy ———_— “name \ y,ye 'tae ° ' Wa q6Gog Ay~ be pond nO ‘We| ven eee Ged

a vos . on ‘ ° TO LT eR eo Na ONE ee * _. _ — ton 4 ai emerwient ee 8 tere eh meee RRM TRR C8 2 + RR we

yw YE a EE ——————Z—{_—>Ex