Johann Sebastian Bach

Sonata in C BWV 1005Partita in D BWV 1006

Arranged for Baroque Luteby

Wilfred Foxe

TREE EDITION

Johann Sebastian Bach

Sonata in C BWV 1005Partita in D BWV 1006

Arranged for Baroque Luteby

Wilfred Foxe

© 2011TREE EDITIONAlbert Reyerman

To David van Edwards

Foreword

The Sonata in C BWV 1005 and Partita in D BWV 1006 were originally composed forunaccompanied violin and form the final examples of three sonatas and three partitas,BWV 1001 – 1006, Johann Sebastian Bach composed in 1720 whilst he was in theservice of Prince Leopold of Anhalt Cöthen. The realization of both works followsthe practice outlined in the appendix to the Partita in D Minor BWV 10041 and, aswith all such arrangements, it is advisable to consult the original score2.

The Sonata BWV 1005 sits beneath the fingers so well that it might have been composedwith the baroque lute in mind. The fugue is also amongst the longest Bach composedand, at over 350 bars in length, is significantly longer than the 231 bars of the mostexpansive fugue for organ3, ‘The Wedge’. The Partita has been transposed from E and,even though Bach made an arrangement of this partita for the lute, this tonality israrely found in compositions for the lute.

Setting aside consideration of the instrument intended by Bach for his arrangement4 ofthe Partita as BWV 1006a, the texture of some movements is clearly a consequence ofthe harmonic limitations of a bowed instrument. For a composer of Bach’s calibre,however, such limitations may transmogrify into artistic opportunities. Nonetheless, itis questionable whether these benefits are retained when the instrument is changed.Consider the following examples5 from Minuet I, BWV 1006.

Although both versions are effective, the music of Example 1 played on a bowedinstrument is more resonant than when played on the lute. Example 2 presents thesame music using a texture more frequently employed on the lute; here tenths havebeen substituted for the thirds of the original. This process mirrors some of the changesmade by Bach when adapting for the organ6 the fugue from BWV 1001. Similarprocesses have been used regarding the Loure and these are shown in Examples 3 and4 below.

The approach adopted when producing the arrangement of BWV 1006 has been tofollow the processes outlined in the Appendix to the edition of BWV 1004. Bach’sreworking of this as BWV 1006a has been used as to guide the prolongational techniqueswhen moving from the middleground to the foreground. Some passages frommovements of the Partita, in particular the Gavotte, contain quite striking differences1

from the corresponding parts of BWV 1006. The example provided by Bach in hisadaptation of the fugue from BWV 1001 as BWV 539 has also been used as a touchstoneconcerning the changes in texture of some movements, in particular, the Loure andMenuet I.

Wilfred FoxeRugbyFebruary 2011____________________

1 Tree Edition, 2007.2 Johann Sebastian Bach, ‘Drei Sonaten und Drei Partiten für Violine Solo BWV 1001 – 1006’,herausgegeben von Günter Hausswald, Neue Ausgabe Sämtliche Werke, ed. Johann Sebastian BachInstitute, Gottingen, and Bach-Archiv, Leipzig, Series VI, Band 1, 2nd edition, Bärenreiter, Kassel,1974.3 Prelude and Fugue in E Minor, BWV 548.4 Debate continues concerning the nature of lute or keyboard instrument Bach had in mind for thecompositions BWV 995 – 1000, and 1006a.5 Example 1 has been transposed to D in order to facilitate comparison with Example 2. The sameprocess is followed for other examples.6 See Prelude and Fugue in D Minor BWV 539. In comparing BWV 1001 with BWV 539, not onlyis the number of fugal entries increased, the general texture enriched, and the chords re-spaced tomirror general organ practice, but the work as a whole has been realized within the resources of theorgan. Few would be surprised that the greatest organist in history would incorporate such changesin his adaptation of a work composed for another instrument. However, BWV 1006a represents adifferent challenge since Bach was not a lute player of renown.7 See, in particular, the final bar of the Prelude, and the Gavotte at bars 85 – 90.

Index

Sonata III BWV 1005 Page

1. Adagio 12. Fuga 33. Largo 144. Allegro assai 16

Partita III BWV 1006

1. Prelude 212. Loure 283. Gavotte en Rondeau 294. Menuet I 345. Menuet II 346. Bourée 367. Gigue 38

Tuning 40

1. AdagioSonata III BWV 1005 J S Bach (1685-1750)

Arranged by Wilfred Foxe

4

8

12

16

19

23

- 1 -

27

31

35

39

42

45

NB Note values doubled; original time signature 3 4

- 2 -

2. Fuga

7

13

19

25

31

37

- 3 -

42

47

52

57

62

67

71

- 4 -

75

79

83

87

91

96

101

- 5 -

106

111

117

122

128

134

140

- 6 -

146

152

157

163

168

172

176

- 7 -

180

184

188

192

196

200

al riverso

205

- 8 -

211

217

222

227

232

237

243

- 9 -

248

252

256

260

264

268

272

- 10 -

276

280

284

288

294

300

306

- 11 -

312

318

324

329

334

339

344

- 12 -

349

353

- 13 -

3. Largo

3

5

7

9

11

13

- 14 -

15

17

19

21

- 15 -

4. Allegro assai

4

7

10

13

16

19

- 16 -

22

25

28

31

34

37

40

- 17 -

43

46

49

52

55

58

61

- 18 -

64

67

70

73

76

79

82

- 19 -

85

88

91

94

97

100

- 20 -

1. PreludePartita III BWV 1006 J S Bach (1685-1750)

Arranged by Wilfred Foxe

[f]

4

p

7

f

10

p

13

f

p

16

f

19

- 21 -

22

25

28

31

34

37

40

- 22 -

43

p

46

f

p

49

f

p

f

52

55

58

61

p

f

- 23 -

64

p

67

f

70

73

76

79

82

- 24 -

85

88

91

94

97

100

103

- 25 -

106

109

112

115

118

121

124

- 26 -

127

130

133

136

- 27 -

2. Loure

6

9

12

16

20

23

- 28 -

3. Gavotte en Rondeau

5

11

15

20

24

29

- 29 -

33

37

42

47

52

55

58

- 30 -

61

64

69

73

79

83

87

- 31 -

91

95

99

- 32 -

4. Menuet I

6

13

19

24

29

5. Menuet II

- 34 -

6

11

15

20

24

28

- 35 -

6. Bourée

6

9

12

15

20

24

- 36 -

27

30

33

36

- 37 -

7. Gigue

4

6

p

f

8

10

12

14

- 38 -

17

21

23

25

28

30

32

- 39 -

Tuning BWV 1005

Tuning BWV 1006

- 40 -

TREE EDITION