Music of Sweet Temperament
My Learning Book for The Well-Tempered Clavier 2

A comment by Herr Johann Christoph Altnikol
requested by Anna Magdalena Bach of 2010 in the year 1744
--- This is a fiction. ---
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Back Music is Cantata "Wake, arise, the voices call us"
No.6 Aria Duet : soprano and bass

A comment by Herr Johann Christoph Altnikol



with a smile
Frau Anna Magdalena Bach told me to write a comment for this Learning Book for The Well-Tempered Clavier 2. But what can I write at all? I have been wondering it for a while. Then I have come across an idea to explain about the scores, because I am working for the Bach as one of the copyists.

My great teacher praised me for my calligraphy.

of her younger days

Anyway, first of all, let me introduce myself.

I was born in 1720 in Berna of Silesia or Seidenberg. Now I am 24 years old. My father is a weaver. And I went to school at the Lauban Lyceum in 1733. Lauban is a town in southwest Poland. I was employed as a singer and assistant organist at St Maria Magdalena, Breslau, between 1740 and 1744. Breslau, or Wrocaw, is the capital of the Lower Silesian. Then I began studying theology at the University of Leipzig from March 1744, after being granted four thalers, wow it's a great money, as a viaticum, or a scholarship, in January of this year. So I am here in Leipzig. Now I am a pupil of Johann Sebastian Bach in composition and keyboard instruments. If possible. I'd like to be a bass singer in Johann Sebastian Bach's choirs, and get an additional salary.
I heard that Herr Bach's son, Carl Philipp Emanuel now 30 years old, one of the famousest contemporary musicians, recently married Johanna Maria Dannemann in Berlin. Herr Bach looks so happy. Elisabeth Juliana Friederika Bach, one of his daughters, is 18 years old. She lives at Herr bach's residence with her family. I will make a song for her as a gift.

The year 1741 was celebrated by the publishing of "Clavier Ubung bestehend in einer ARIA mit verschiedenen Veraenderungen ....." which is now commonly known as "the Goldberg Variations". I also have been practicing and enjoying it. This publication led me to be a pupil of Johann Sebastian Bach. And I have come to know about the manuscripts. Of course almost of all the works by J. S. Bach are still in manuscript.
What is the difference between the manuscript and the printed score of the same work? Yes! In the manuscript there is the soprano clef. In the printed score you will find the treble clef. When the C-clef occurs on the first line of the staff, it is called the soprano clef. It ia usually used in vocal music to write soprano parts. When the G-clef is placed on the second line of the staff, it is called the treble clef. This becomes common clef used today. This clef is used for the violin, flutes, oboe etc.



modified by Iori Fujita
It doesn't exist in the 21th century with 32th notes.

It is an unusual manuscript of the Prelude of the Well Tempered Clavier Book 2. Herr Bach used the grand staff with the treble clef and the bass clef. Other works of the Well Tempered Clavier Book 2 except Prelude and Fugue No. 1 and No.17 are all with the grand staff with the soprano clef and the bass clef.
My great teacher Herr Johann Sebastian Bach usually uses the grand staff with the soprano clef and the bass clef for the keyboard works when he writes the manuscript score by himself. But when he is going to publish a work for Clavier, he chooses the grand staff with the treble clef and the bass clef. From 1726 he published Partitas one by one and in 1731 he collected these 6 Partitas in "Clavier-Übung I". These Partitas are printed using the grand staff with the treble clef and the bass clef.
Look at the grand staff above. In this case C-4 is situated at the vertical center. Then the image of the vertical symmetry is so strong that the space between upper staff and lower staff is getting narrower. To tell the trueth, it is a little bit difficult to identify upper voices and lower voices in case of printed scores using the grand staff with the treble clef and the bass clef. It is not the problem of he grand staff with the treble clef and the bass clef but the problem of the narrow space between upper staff and lower staff. The vertical symmetry forces us to make the space narrow. When the G-clef is used, we may have to be conscious of the symmetry, which is not neccesary at all from the beginning.
We can use a doppelrastrale which is a five-line writer as usual for the manuscripts and put the G-clef on the upper staff, then naturally we can obtain a suitable space between two staves. Print the result as such, then there will be no problem.

Now I can't make a good song for Elisabeth Juliana Friederika as a gift like her father.
Then I sang a song with her at the music party of the Bach family.
When I visited Leipzig two years ago in November 1742, this cantata was played in the Thomas Church by chance.

"Wachet auf, ruft uns die Stimme" or "Wake, arise, the voices call us"
Cantata for the Twenty-Seventh Sunday after Trinity
No.6 Aria Duet : soprano and bass
sopran :
baß :
sopran baß :
sopran :
baß :
sopran baß :

Mein Freund ist mein,
und ich bin sein,
die Liebe soll nichts scheiden.
Ich will mit dir
Du sollst mit mir
im Himmels Rosen weiden,
da Freude die Fülle, da Wonne wird sein.
soprano :
bass :
soprano bass :
soprano :
bass :
soprano bass :

My friend is mine,
and I am yours,
Our love never be broken apart.
I will be with you
You shall be with me
grazing heaven's rose garden,
where fullness of joy and delight will be.
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