Suite 6

D major BWV 1012

Editor's Notes

Prélude

Allemande

Courante

Sarabande

Bar 31, 1st bass note:

All editions except Yokoyama's give G, following AMB, but it is in fact G-sharp, as we can see in Kellner's copy (note that the first bar shown, bar 30, is in alto clef) .

AMB forgot to write the sharp sign.

Probably she couldn't recognize that it was an accidental sign

Source C:

Source D:

Sources C and D differ from Sources A and B. Curiously, all four manuscripts give different readings.

The reading in Source [G] (the hypothetical common exemplar of Sources C and D) was probably A , but I don't know why Source D added an F-sharp below the A.

We can imagine that the scribe of Source [G] was dissatisfied with the reading found in AMB Yes, he was right. Below I show the last three bars of the three sources, omitting all rests and anticipations.

I suggest playing them on an organ, or using a positive-organ sound on an electronic keyboard. Or listen to the audio file below.

It is easy to hear that the extended G in the bass in AMB is too long, sounds unnatural, and creates a muddy texture.

The reading in Source [G] is simple and natural.

But Kellener is the most beutiful and rich in harmony.

It corresponds to preceding chromatic progression of bass (bar 28 - 29).

I don't know why Paris first edition (1824) is same as AMB.

Gavotte

Gique

Bar 8, 4th note:

Most editions show e according to Anna Magdalena Bach (AMB) (and Sources C and D).

But it is probably a mistake because the 7th chord of next bar requires c-sharp as a preparation of suspension. Only Bach Gesellschaft Ausgabe (BGA/1879) take c-sharp according to Kellner.

Kellner:

BGA (but the chord of next bar is a mistake since Paris first edition):

I show you the harmony reduction for easy understanding.

A similar example from the Allemande of the 6th Suite (bar 6, 2nd and 3rd beats).

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