RUBANK EDUCATIONAL LIBRARY No. 139 CLASSTOGAL STUDIES . ln =. CLARINET 7. TRANSCRIBED AND EDITED Suites, by bs H VOxMAnPREFACE T ste wots of Johann Sebastian Bach (685175) for w= accompanied violin and unaccompanied cello, are universally acknowledged fo be among the greatest in the heritage of masterworks handed down by this illustrious master of the art of music, Widespread ute of thete compotitions over @ period of nearly a hundred years has proved that they are almost in ;pensable in the teaching and performing reper- ‘oires of the instruments for which they were written. A frst hand acquaintanceship through actual performance of such works, musically sufficient in themselves without the support of other instruments, isa highly desirable experience for all modern instrumentalists, It is highly fortunate that transcriptions of these works for inet present no great difficulties: nether do they cont offending compromises. For the most part, they accomme- dato the range and character of the instrument admirably, and afford the serious student « wealth of fine music well suited to the study of phrasing and articulation, Historical Comments B cov unaccomporied sonates, parts, nd suits were composed during his appointment at Kapellmeister to the Princely Court at Gathen (1717-1723). These works were not known, in general, to his contemporaries. It was not until almost a century after Bach's death that Felix Mendelisohn- Bartholdy (1809-1847), and his e6terie of musical enthusiasts, most effectively called attention to the fact that Bach, a then inadequately-known genius, had left to humanity a wealth of ‘great music beauty. In particular, credit must go to Ferdinand David (1810-1873), 2 professor in Mendelsschn’s famed Leipzig Conservatory, for having brought from obscurity the solo sonatas and par- ites, thu iude of the musical world. IH was David who first edited and published them before they were accepted at large. He ako influenced his close friend, the immortal violinist Joseph Joachim (1831-1907}, to per- form the works throughout the world, thereby giving them the widespread hearing they so deserved. arning the undying gr In our own time, the renowned Spanish colist, Pablo Casals (1876. }, has established himself as the greatest of mod- crn interpreters of the solo suites. Students are strongly urged to study boon recorded performances, which ha The part dance thythms, are constructed in reality of musical forms which for the most part had coased to be dances long before Bach utilized them and suites, written in what apparently vehicles for some of is most elaborat writing. The skilful employment of themes in these tra tional forms, however, offers scope for the greatest ingenuity fon the part of the composer; likewise, it provides opportunity for unlimited possibilities in the development of musicianship fon the part of the performer. To the transcriptions of the unaccompanied sonatas, partite, and suites, presented on the following pages, @ number of choice extracts have been added from various keyboard compositions of both Bach and his great contemporary, George Frideric Handel (1685-1759). This additional ma- ‘ 1 fo enhance further the study of the classical form and style, will prove valuable at a me H. Voxman and Interpretative Notes by HMN. for the Bach Society (England). Various ex. lent recordings of the solo sonatas for violin are listed in domestic and foreign catalogs as wall. Today, the interpre tative study of these mosterworks is a fundamental pillar in the field of musical scholarship. * ok IN performing the msi of Bach ‘generally does not end with the ‘of Bach's writing must be borne breath is to be taken. In addi the upper accessory. observe that the phe ‘This characteristic mind, particularly when 9, trils should begin with Till in figures such a ecuted in the manner of: === 7 == When performing works of thit period, the tr retard the end of a strain upon its repetition, ition is to Copyright MCMXLVII| by Rebonk, Inc, Chicago, Hl ration Copyright SecuredCONTENTS Studies from the Works for Solo Violin by Bach Page Page SONATA I IN G MINOR PARTITA Il IN D MINOR ete Allemande 2 2 2 ee Cee PARTITA LIN B MINOR Courmte oe eB Allesedy ee ee Double se ca 1g SONATA IIT INC MAJOR Double 2 10 Allegro Auai B Double se ee ee ee 2 cries Dealer a) PARTITAINIIN|E MAJOR Gavotte en Rondo 2. ee ee . SONATA II IN A MAJOR Boi ee) epee eee i Studies from the Works for Solo Cello by Bach SUITE | Préde . 30 Seraborde Allemand | Bee te Bourées bands ee AT Courente . . se 33 Courente 6 ee ee a “a Srabarde Giese eats ied ee Gives eB gurney SUITE It Prélude ee Os ceo Alemande 22) nie oe Courente. 2 2. se Courste 2 le Sarabande SB Soraband : a Bourrées and ee 5B bande tie ‘gue 58 ameter ee Gigs Giese a SUITE VE SUITE IIL Proude 2 2 2 ee we Pride “ Courentes (Alemania 2 ead ig ee Studies from Other Works by Bach and Handel SECOND LITTLE PRELUDE (Clavier) SUITE XIV (Clavier) Moderato te ss + Bach 66 Gigue ee ee Handel 69 SUITE II (Clavier) SONATA IN E MAJOR (Flute and Cembalo) Mego ee Handel 7 are eee ete Dect 70) SUITE X {Clovier) PARTITA IN Bb (Clavier) lege ee ee Handed Sarabande. 1 ee ee ew es Bach 724 To my colleagues, George B. Wan and Russelt S. Howland. P Sonata I in @ Minor Bach ‘simile - Gres) ee eaconee= : 20 1033-71yee. —= 1033-71 11% volta rallent.ALLEMANDE Partita | in B Minor Bach (d=) 1093-714033-71 rit.] DOUBLE Partita | in B Minor AE Ghia ten, toga-71CORRENTE : Partita | in B Minor erese. .- Ff * 1148 volta rit toaa-717 DOUBLE Partita | in B Minor Presto (d= 100) Bach ——_ ~ sempre stave cree SS 4099-711033-71i DOUBLE Partita | in B Minor (d-= 108) oe 1033-71BOURREE 7 Partita | in B Minor _— * tte ‘pesante to99-71 SS7 DOUBLE Partita | in B Minor Allegro (¢ =s2) Bach pe lege. > 1033-711033-71 149 volta riten crese. 15ALLEGRO Sonata Il in A Minor Bach 1093-71: do eres - Dan aac 1039-71eS allargando i 1033-71ALLEMANDE 19 Partita {lin D Minor (d= 76) (not too detached) Bach == zo tos-71 144 volta rit Z20 CIGUE Partita IM in D Minor Bach (d-5 72) one toga2 Wdavoitaria 033-71“ COURANTE (J=s8) Partita Il in D Minor a > toaa-71ALLEGRO ASSAI - Sonata Ill in © Major 1038-71to93-71 Vs Sts NS Pye I volta riten, toaa-71% GAVOTTE EN RONDO Partita II in E Major Bach 1039-71toaa-7128 BOURREE Partita Ill in E Major Ges) Bach > > Sf risoluto 1038-71CIGUE Partita Il in E Major (=n) Bach we tf tf gy 1194 volta rit, tosa-7130 PRELUDE Suite I Allegro moderato (/=98) 1033-7131 ee cd con “oY ao elie ‘ > simile > eS aoe Pipe wr = rallent. wr toaa-7132 ALLE MANDE Suite! Moderato, con grandezza (J=72) apie ah 1033-71COURANTE Suitel Allegro non troppo (¢=104) = ae Sf energico 1039-7134 SARABANDE Suite! Lento (e= 100) Bach — ngf-p ma espress. MINUETS Suite | ( I Bach 1023-7435 Un poco pitt mosso Pp crese. f —— - a= _ erese. fe Minuet I D.C. CIGUE Allegro (d.=108) Suite! Bach B * i =f tosa-7136 PRELUDE Suite ll Allegro moderato (4=.e) Bach 1039-7137 1033-7138 ALLEMANDE Suite il h Molto moderato (d=es) nis toaa-7139 COURANTE Suite Allegro non troppo (d=ea) Bach 1039-7140 SARABANDE Suite Lento (d= 60) Bach te toga-71MINUETS . Suite Il (=n ; \ __Bach t P Dd toa. : — f- CICUE Suite Allegro (d-=6s) >. >, f P toaa-71ALLEMANDE a Suite Ill Moderato ()= 112) >> Fe : == Gee aS 1039-71“ PRELUDE Suite I ) Bach Allegro (¢= es) > tf crese, molto ) —s fen > S sempre 1033-7145 sacs Sees SS | lim. sempre a ees ae s == . a * dim. sempre toaa-146 SARABANDE Suite itl Lento ( =6s) tosa7t BachBOURREES ” Suite Hl (d=00) ' Bach pf 1039-71 Bourrée I D.C.48 COURANTE Suite Allegro (d= 144) Bach > Sane dks f= ~ psimite F P erese. ft 4144 volta riten. toa9-71CICUE Suite ti (d. = 69) >= Bach > crese, sempre > > crese. f i a on 1039-11°° PRELUDE Suite IV (d = 108) s Bach f z S simile P — y “un poco alian toaa-7151 ed oa. cen do S atenpo 1033-717 ALLEMANDE Suite IV Bach 1033-71to33-747 COURANTE Suite V =a =. tr. 3 toa-71SARABANDE 8 Suite IV (4 =80) Bach nf —— ese. St ———— 1033-7156 BOURREES Suite IV (J=84) I Bach >., : 1033-71P Bourrée I D.C. 1033-7158 CIGUE Suite 1V (d.= 120) Bach tos.” 144 votta rall,PRELUDE 7 Suite VI Bach 1033-7160 eae —=—— ff sempre61 ire amente mf ey crese, “largam ae 5 1033-71° COURANTE Suite VI Allegro non troppo (d =12) 7 Bach SS P ps tf PP crese. sempre > “ee; zz f 1039-7163 dim. sempre p dim. sempre’ > fees = zs crese, t030-71 ‘sempre° CICUE Suite VI (.=69) Bach . 1033-711033-7166 MODERATO Second Little Prelude cree. Fin ng eae erese. Sr dim. 1020-71ALLEGRO 87 Suite Il Allegro Handel7 ALLEGRO Suite X Handel Allegro 1033-7169 CICUE Suite XIV Presto Handel —= crese. 1033-7170 ALLECRO Sonata in E Major (1) In thin movement interpret all grace notes a) as 3. 1038-71n A ve as ache ee w 1% volta rall.. SARABANDE Partita in Bb wo My Un poco lento (4)= 120) Bach ~ > = = S= SF 1039-71