RUBANK EDUCATIONAL LIBRARY No. 139 CLASSTOML STUDIES 7%" ln - CLARINET TRANSCRIBED AND EDITED by H. VOXMAn MIAMI, FLORIDAPREFACE Tete werls of Johann Sebastian Bach (1685-1750 for un accompanied violin and unaccompanied cello, are universally acknowledged fo be among the greatest in the heritage of mattarworks handed down by this ilutrious master of the art ‘of mutic. Widespread use of these compositions over @ poriod of nearly a hundred yeers has proved that they are almest indispensable in the teaching and performing reper- foires of tho instruments for which they were written. A first hnand acquaintanceship through actual performance of such works, musically sufficient in themselves without the aid or support of other instruments, is a highly desirable experience for all modern instrumentalists It is highly fortunate that transcriptions of these works for 1% present no great difficulties; neither do they contain ‘offending compromises. For the most part, they accommo. date the range and chara‘ and afford the serious student a wealth of fine music well suited to the shudy of phrasing and articulation. of the instrument admirably, Tho parttes and suites, written in what apparently are dence rhythms, are constructed in reality of musicel forms which for the most part had ceased fo be dances long before Bach ed thom as vehicles for some of his most elaborate writing. The skilful employment of themes in these tradi- ional Forms, however, offers scope for the greatest ingenuity on the part of the composer: likewise, i provides opportunity for unlimited possibilities in the development of musicianship fon the part of the performer. To the transcriptions of the unaccompanied sonatas, partitas, and sites, 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 Handet (1685-1759). This additional ma- terial will prove valuable as @ means to enhance further the study of the clessical form and style. H. Voxman Historical Comments and Interpretative Notes AB now unaccompanied sonatas, pat composed during his appointment es Kapellmeister to the prineely Court at Cithen (1717-1723). These works were not known, in general, 0 his contemporaries. Ht was not until almost a contury after Bach's death that Felix Mendelsohn- Bartholdy (1803-1847), and his c6terie of musical enthusiasts, most eFectively called attention to the fect that Bach, a then inadequately-known genius, had left fo humanity a wealth of ‘great music which was a veritable treasure of unexplored beauty. and suites were 1n particular eradit must go to Ferdinand David {1810-1873}, 1 professor in Mendelssohn's famad Leipzig Consercatory, for having brought from obscurity tho solo sonatas and par- 4itas, thus earning the undying gratitude of the musical world, H was David who first edited and published them before they wore accepted at large. He ako influenced his close friend the immortal vielinist Joseph Joachim (1831-1907), to per form the works throughout the world, thereby giving them the widespread heating they so deserved. {In our own time, the renowned Spanish cellist, Pablo Casals (1876-1973), has established himself a the greatest of mod- crn interpreters of the solo suites. Students are strongly urged to study his performonces, which have been recorded by HMY. fer the Bach Society (England). Various excel- lont recordings of the solo sonatas for violin are listed in domestic and foreign catalogs as well, Today, the intorpre- tative study of these masterworks is a fundamental pillar in the field of musical scholarship. wk ok I pertorming the mai of Bach, cbiorve thatthe place generally dovs sot end with the bercline. This characteristic of Bach's writing must be borne in wind, particularly when breath is to be taken. In addition, trills should begin with ‘the upper accessory. Till i figures such as: ‘are executed in the manner of: ez and aaa = When performing works of this period, the tradition is to retard the end of a strain upon its repetition. Copright MCMXLVIII by Rubank, Ine, Cheese, Copyright Re ad Inforraticnsl Copyright SecaredCONTENTS Studies from the Works for Solo Violin by Bach Fase Pace SONATA | IN G MINOR PARTITA IL IN D MINOR é Presta ieee ieee erecta (Alememelestescteteeeeecteeaiaseest]eateree teteece Gige PARTITA | IN B MINOR Courente . B sAlemonde ee tie seeetet eer ec ce (ope aire esau eee eerie Corte Lg) SONATA ILIN & MAJOR Double. eee eee Allegro Asai B Doublene esses Leeroy te eee cess ag Raurrbe ectrstereoeee eee eed Seg Doble 2 4 PARTITA HL IN E MAJOR Gavotte en Rondo 2. 2. ss 06 SONATA IL IN A MAJOR emia eee eee eee eee Abegro aecteatieesee feet eeee seers eer Signet et ay Studies from the Works for Solo Cello by Bach SUITE I SUITE IIE (Continued) Pode ee 0 Sarabande 2 Allemande 2. oe ee BD Bourgesiand ls. ee ee AF Courante 6. Soares 3 (sea See ceeeepeaapadbiatrperdenyienienimadvgistet Sarabande rane terre eee ee epee Minuet Fand lg lige fate edeee reat eect re tere Seen SUITE It Pride eerste ese erate 60 Allemande 2 2. ee ee ee ee 82 Courante 2 2 ee BM Sarabande 2 ee es 8B Bourrées FandWs ee ee es 88 Pride ee Allemande 2. eB Courant seis ieee or ae aoe Leto ar aaLb a bande : 40 ° aca aeE fey igus tec eieiae este scaseec scenes eee ett DB De me SUITE VI SUITE 1 Proud Prélde ee Courante ee Allemends sac as aug eee reese eee Cee e oa Studies from Other Works by Bach and Handel SECOND LITTLE PRELUDE (Clavier! SUITE XIV {Clavier} Medersio 2 oe sw ss Bach 6b Cigue ee ee wee Handl 69 SUITE IL (Clavier) SONATA IN E MAJOR {Flute ond Cem! Allogro 6 ee ew es Handel 67 Allegro se ee SUITE X {Clavier} PARTITA IN B (Clavier) Allegro 6 oe 5 ee ee ee + Handel 68: Sarabande 2. 2 ee ee Bach 727 lee ieee eas 2 wa ere cae ¢ PRESTO hob: po! Sonata | in G Minor Bach @ sah 7 ies _= £7 == 1092-71 —_— H® volta raltent.ALLE MANDE Partita | io B Minor Bach (d=22) 1033-71—.- 1033-71(d = 64) _— DOUBLE Partita | in B Minor stte> crese. aogte CEE Fe SSE Se tos-71 2 aE shia riten.CORRENTE Partita | in B Minor * da 1039-79 144 volta rit.1039-71 DOUBLE Partita | in B Minor Presto (a= 100) Bach nf === wempre stacc. re1023-71) 2 \* pousLe Partita | in B Minor Bach toaa-71BOURREE : Partita | in B Minor a EE pesante4 DOUBLE Partita | in B Minor Allegro (d =s2) Bat pe lege. toas-71M4 volta riten 1033-71ALLEGRO Sonata I in A Minor1033-71to38-74ALLEMANDE le Partita fl inD Minor (276) (not too detached) Bach 1033-71 44 voita rita CIGUE Partita II In D Minor Bach toaa-71ores - con - do omg 1144 voitardt SE toaa-71e COURANTE Partita II in D Minor pack: SS == a Peer é —_— soanst TI volta MtALLECRO ASSAI Sonata Ill in © Major 1039-71= 1093-1125 a a ga pete ED engrave es pipeeess aagettt Exsecazazere Eeparazazere o volta riten, ——Sf f 4 1039-71= CAVOTTE EN RONDO Partita 11 in E Major fleet etl paper 1033-7127 1033-1128 BOURREE Partita Ill in EM. artita IM in E Major sae (d=92) - > > f risoluto 1033-71CICUE i Partita {Il in E Major (=n) Bach a a ie tf P cee W194 volta rit, s093-7130 . PRELUDE Suite | Allegro moderato (¢=s8) Bach ez eee Boy are $4 3 aan Be ES = age: ¢ dolce aerallent. et toa-7132 ALLE MANDE Suite! Moderato, eon grandezza (d=72) = _—_— oe — toaa-71COURANTE Suitel Allegro non troppo (¢=104) Bach eg = Pears! ff energico Ye 1033-7134 SARABANDE Suite! Lento (d= 100) Bach sae > mfp ma espress. MINUETS Suitel (d= 104) Wee : Bach 1083-7535 Un poco pit mosso tooo Pp crese. f =P 7 Minuet I D.C. Allegro (d-=t08) Suite I Bach - ¢ “ - + % tos3-71. PRELUDE Suite ll Allegro moderato (+=ae) Bach 1033-711033-71baa ALLEMANDE Suite tl Bach Molto moderato (d=ss) ae ap SS erese. 1093-7139 COURANTE Suite il Allegro non troppo (# =ee) Bach A a ee i= — 1033-7140 SARABANDE Suite Il Lento (J= 60) Bach r 1088-71MINUETS bl Suite Il (4 =120) t Bach 039-71 ; —== Fi GICUE ite I Suite a Allegro (4-=69) ee fr > eoieigces eee 5 eI 093-71 vfALLE MANDE a Suite Ill Moderato (d=12) Bach — 1033-71Allegro (d= 82) > PRELUDE Suite I Bach Sf crese, molto45 senipre oresc. |SARABANDE Suite Ill Bach Lento ( =6s) toaa-71BOURREES ” Suite I (d= 80) | Bach pS toa3-71 Bourrée I D.C.. COURANTE Suite Wl Allegro (4 = 144) Bach > ft Pe S simile p f : 2 rosa-71CICUE a Suite I ‘cresc. sempre > 1033-71- PRELUDE Suite IV _ = S = un poco aliangig oreo rosaallarg. = 1093-7152 ALLEMANDE Suite WV Yo39-71== 1033-7154 COURANTE Suite IV (d = 108) 3 Sf -S —_ P 1038-71SARABANDE iat Suite IV oF hese. f eee 1039-7156 BOURREES Suite IV Bach 1039-717 Bourrée I D.C. 1033-71. CICUE Suite WV (d.=120) Bach tooan? : M48 volta rall.PRELUDE 2 Suite VI to33-711039-71fim. sempre ote ‘pesante érangucllo ic eis i tf dim. —— eons eee 1033-7162 COURANTE Suite VI Allegro non troppo (4 =12) ‘ : Bach zs Peter eee te P * a 7 oi Ee Ei =| a St = . ze 1033-71dim. sempre 7 S pee: > > P crese, sempre === Sf M42 volta riten. 1039-71na CIGUE Suite VI (J.6) ee Ny 3 ) e i to3a-711039-7166 MODERATO Second Little Prelude nent f erese. SL dim. = — Ss Ge SSS isa aa Pa mf J eye 7 “8 1033-71ALLECRO ee Suite I Allegro Handel eer . FFEE verre ere cge terete ee P —— => 1039-71 rit. un™ pocoi ALLEGRO Suite X Allegro ng 1033-71 EneCIGUE . Suite XIV Presto. Handel r QE Ba BR ee P ===" 5 = =—=— pe eee ste es! fae ? <== crese. f ?P SSS OSE SS SS boa dim, Spe 2 Benatar GIS] reese eS ? ore. 7S ae ees. 1099-71ti ALLEGRO Sonata in E Major (4 =108) icy. . o> (1 tp this movement interpret alt grace notes A as J. — 1039-71w_ 1148 volta ral, 1039-71 2 ai SARABANDE Partita in Bb Bach Un poco lento (d= 120) we nf Te, £ ite 1033-71 ae