И.С. БАХ Сюита № 3 с фортепианным аккомпанементом Р. Шумана

[kjsdh629]

Вот. Попались мне в руки такие нотки.
О добавлении аккомпанемента к сюитам читал еще в "Истории виолончельного искусства" Л. Гинзбурга. Он отзывается о такой "вольности" крайне негативно:
"

Стремление композиторов-романтиков подчеркнуть гармоническую основу в применении к баховским сочинениям для инструмента соло оказалось неуместным и нарушающим самый стиль произведения. Нельзя согласиться с Б. Вейглем, усматривающим значение ф-п. сопровождения в облегчении понимания сюит."

Л. Гинзбург "История виолончельного искусства" Т.1, Музгиз 1950 стр. 312-313

Там же Л. Гинзбург пишет, что сопровождение, написанное Шуманом, осталось неизданным. И он был прав тогда. Рукопись Шумана была утеряна.
Случайно нашлась рукописная копия 3ей сюиты, сделанная Юлиусом Гольтерманом, по которой Брайткопф и выпустил ее в 1985 году.

Готов согласиться с профессором Гинзбургом, тем более с сегодняшней точки зрения. Аккомпанемент сюитам не нужен. Но вот для изучения, думается мне, "гармоническая подоплека" очень помогла бы. Тем более, что Шуман не просто "от балды" гармонии добавлял.

1775 году ученик Баха Й.Ф. Агрикола свидетельствовал:
"Композитор часто играл их (скрипичные сонаты и партиты) сам на клавикорде и добавлял столько гармонии, сколько считал нужным. Таким образом, он признавал важность "звучащей гармонии", которой он не мог достигнуть в этом сочинении для скрипки." (извините за "корявый перевод")

Тут можно возразить: Бах не аккомпанировал тогда скрипачу, а просто "перекладывал" собственное сочинение на другой инструмент. Скажем, бузониевская Чакона живет своей концертной жизнью, в то время как мендельсоновский аккомпанемент к ней канул в Лету. Лютнисты или гитаристы не аккомпанируют 5ю сюиту виолончелисту, а играют собственно баховский вариант, у которого даже рукопись сохранилась. Еще неизвестно, что было раньше - лютневый вариант или виолончельный.

Короче, так или иначе, шумановский аккомпанемент к 3й сюите есть, и посмотреть в него интересно прежде всего с такой точки зрения: что романтики, в частности, Шуман, слышали в Бахе?
Ну и кроме того, думаю обязательно сыграть сюиту в таком варианте, присовокупив к ней "Пять пьес в народном стиле". Получится хорошее полноценное шумановское отделение.

Выкладываю здесь вступительную статью к изданию. ИМХО, она проливает некоторый свет на проблему и представляет интерес.

Статья на английском, есть и немецкий вариант, если кого интересует, могу выложить.
Переводить, извините, не взялся. Нормальный перевод - отдельное искусство, которым я не владею. Если что непонятно, спрашивайте.

Preface

"It occurred to me once again that one can never really get down to the bottom of Bach's music, and that Bach becomes more and more profound the more one hears of his music"(1) were the words used by Robert Schumann in his enthusiastic review of an organ concert given by Felix Mendelssohn Bartholdy in St. Thomas's church in Leipzig on 6 August 1840, and whose proceeds were destined for a projected Bach monument. Schumann's intense interest in Bach, whom he once qualified as the "praiseworthiest"(2) and as "one of the greatest creators of all times"(3), accompanied him from the awakening of his artistic talent as a musician up until his breakdown in the spring 1854. He studied Bach's works, he transcribed them, arranged them and edited them. In his letters and reviews, he repeatedly advised young musicians to learn from them. He himself often sought in Bach's works the inspiration for his own compositions, impulses which are not always easy to detect. It would exceed the limits of this preface were one to elucidate Schumann's complex relationship to Bach. Attempts in this direction have often been made, although hardly ever in a very exhaustive manner and without the critical examination of all available sources.(4) The most important aspects of this relationship can be illustrated by focusing on a few pregnant facts and revealing quotations.

In his autobiographical notes, brought to paper undoubtedly after 1840, Schumann wrote: "Wild about fean Paul at the age of 18; also the period in which Ifirst heard of Franz Schubert. Goethe and Bach had been unknown to me until then ...a new If efrom then on (i.e. from the beginning of his studies in Leipzig in May 182... Franz Schubert and Beethoven shone to me in theirfull light, while Bach yet dawned ...I busied myself almost permanently (i.e. since 1831, when he began studying composition with Heinrich Dorn) with Bach; ..."(5) With these brief comments, Schumann captured the essence of his musical development. In a letter to his former teacher Kuntzsch in Zwickau dated 27 July 1832, Schumann wrote: "I completed the theoretical course with Dorn several months ago, having worked my way up to the canon, which I studied thoroughly on my own using Marpurg Marpurg is a very respectable theorist. Otherwise my grammar consists of Sebastian Bach's Well-Tempered Clavier, and it is the best of its kind. I have even analyzed the fugues one after the other down into their most delicate ramifications. The profit I draw from this is enormous and affects my entire person in a morally strengthening manner - for Bach was a man through and through; there are no half-measures with him, nothing unhealthy - everything seems to be written for eternity. "(6)

In the "Damenkonversationslexikon" published in 1834 by Herloß-sohn and Lühe, Schumann contributed a short article on Bach in which one can read: "that wonderful blend of tones which we believe to have discovered in our own time can already be found in him in its initial phase, and sometimes even in an advanced stage of development. In addition to this perfect control of the physical is the idea, the spirit which fills his works. "(7)

In 1837 Schumann transcribed Bach's "Art of the Fugue" for himself in order to learn compositional technique from it. He jotted down his comments to each piece, sometimes in a tone of amazement, sometimes with a note of criticism.( This was the same year in which he pointed to the necessity of a Complete Edition of Bach's works;(9) (см. библиотеку Б. Тараканова) the first volume was to appear 14 years later. In his "Collection of musical pieces of the past and present as supplement to the Neue Zeitschrift für Musik" which appeared from 1838 to 1841, he published between February 1839 and December 1841 no less than 7 organ works by Bach, most of them appearing for the first time in print. Schumann himself edited them with acuity and a strong sense of responsibility.(10)

A comment in a letter to Dr. Keferstein dated 31 January 1840 sheds an informative light on Schumann's understanding of Bach: "Mozart and Haydn were familiar only with pages and passages of Вach's music - it is impossible to know how their productivity would have been affected had they known Bach in his entire grandeur. The origins ofthe profoundly combinative qualities, of the poetry and humour ofnew music are generally to be sought in Bach ... the music of Mendelssohn, Bennett, Chopin, Hiller and all of the "Romantics" (the Germans, of course) is much closer to Bach than to Mozart, since they are all familiar with Bach down to the last details. I myself confess daily to this eminent creator and seek to purify and strengthen myself through him. However, one cannot put Kuhnau on the same level as Bach, despite his integrity and delighfulness. Even if Kuhnau had written the Well-Tempered Clavier, he still would only add up to a hundredth of Вach. I am absolutely convinced that Bach cannot be beaten; he is incommensurable."(11)

The fact that he referred to Bach's style elsewhere as "bold and labyrinthine"(12) and that in 1838 he held the greater part of Bach's fugues to be "character pieces of the most eminent sort, at times truly poetic structures, each of which calls for its proper form of expression, its proper lighting and shading (i.e. when being performed)"(13), shows without a doubt that Schumann's admiration of Bach stemmed from the spirit of Romanticism and was of a creative, associative nature rather than of a historical-conservative one.(14) Schumann mastered his serious psychic crisis of 1844/45 not only by compelling himself to compose new works (the Second Symphony in С major Op. 61, whose slow movement takes up a theme by Bach), but also by immersing himself anew in Bach's works, which he studied together with Clara. As a result of his occupation with Bach, Schumann's "year of the fugue" 1845 gave rise to the polyphonically influenced "Etudes for the pedal piano (Six pieces in canonic form)" Op. 56, the "Sketches for the pedal piano" Op. 58, the "Four Fugues" for piano Op. 72 and the "Six Fugues on the name BACH" for organ or piano with pedal Op. 60. On 15 March 1846 Schumann wrote to the publisher Whistling, who published Schumann's sole organ work in November 1846, "... this is a piece on which I worked all of last year in order to make it worthy ofthe name it bears, a piece which I believe will outlive my other works perhaps the longest."(15)

Next to Moritz Hauptmann, Otto Jahn, Louis Spohr and others, Schumann played a decisive role in the foundation of the Bach-Gesellschaft (Bach Society). From Düsseldorf, he followed their work, i.e. the publication of the first volumes of the Bach Complete Edition by Breitkopf & Härtel in Leipzig, with great interest. As municipal music director in Düsseldorf, he finally held a key position which enabled him to have Bach's works performed. On 13 April 1851(16) he conducted the "St. John Passion" which, as he often claimed, he admired more than the "St. Matthew Passion". The latter was also performed on 4 April 1852 after the "Et incarnatus est" and "Crucifrxus" from the В minor Mass on 18 March 1852. Schumann thus continued in his manner the efforts towards the rediscovery of Bach's larger works which had been initiated by his friend Mendelssohn. It is unfortunate that Schumann's contribution has not been justly appreciated up to this day. The admiration of Bach shared by Schumann and Mendelssohn was an important element in their friendship.(17)

The climax of Schumann's multi-faceted occupation with Bach was reached in his arrangements of the six sonatas and partitas for violin solo and the six suites for violoncello solo, to which he added a piano accompaniment following Mendelssohn's example. Judging from the entries in Schumann's diary, or "Haushaltbücher", he worked on the sonatas and partitas for violin solo (BWV 1001— 1006) from 30 December 1852 to 5 February 1853; on 13 January and 13 February 1853 he played through the completed pieces together with the violinist Ruppert Becker (1830-1887), the son of Ernst Adolph Becker, with whom Schumann had become friends in his adolescence and who was then the concertmaster of the Düsseldorf orchestra.18 On 4 January, even before finishing his project, Schumann offered the pieces to the publishing house Breitkopf & Härtel in Leipzig: "I also have another idea which might please you. A short while ago, I heard Bach's Ciacona with Mendelssohn's accompaniment, and looked over the other sonatas afterwards. I found a quantity ofpieces which would be considerably improved by a piano accompaniment and thus become accessible to a larger public. Of course, this is no easy task, but the challenge fascinates me. If you are favourable to my proposal, then I would inform you in greater detail about the length of the work as well as about the other conditions. The title would be: Pieces from the Sonatas of J. S. Bach for Violin, with a piano accompaniment by R. S. "(19)

However, he revised his original plan shortly thereafter and wrote to the publisher on 17 January: "The arrangements of the Bach sonatas took longer than I had planned; hence the delay in answering your kind letter. It became clear to me while working on the pieces that a mere selection of movements from the sonatas would be of no good and artistically unsatisfactory. All of the movements in these sonatas are so closely interrelated that the original would be disfigured should one of its parts be omitted. Thus, I arranged the entire first two sonatas, which I am herewith enclosing. I thought that perhaps each one could be published separately in a volume, maybe every quarter-year,so that the entire collection would be complete in I 1/2 years. If you agree to this project, then please let me know. By the way, Bach's compositions truly contain buried treasures, of which only very few people are aware. I hope that the harmonic braces which I fastened to them will help bring these treasures up to the surface. "(20)

On 20 February he finally sent the manuscript and noted: "I am enclosing the entire Bachiana; although my work on them caused me a great deal of effort, the pleasure was still greater. I am pleased that you wish to publish the sonatas within the course of the year. I also agree with the small print of the violin part. "(21) The work appeared in print in January 1854 under the title: "Six Sonatas for the Violin by Johann Sebastian Bach with an added Piano Accompaniment by Robert Schumann".(22)

In between, Schumann had turned his attention to the six suites for violoncello solo (BWV 1007-1012). These pieces had always been outshone by their fellow pieces for violin, a fact underscored by the fewer editions of these works in the 19th century.23 Thus it is not surprising that Schumann also had less success with these arrangements. Their fate constitutes one of the darkest chapters in the history of Schumann's works and has yet to be satisfactorily elucidated. The "Haushaltbücher" bear the entries:
19 March 1853: ... Bach's violoncello sonatas begun
9 April 1853: ... mostly Bachiana (for violoncello)
10 April 1853: ... Bachiana completed.(24)

On 17 November 1853, Schumann offered these arrangements to the Leipzig publisher Kistner, whose catalogue already contained 10 excerpts from the sonatas and partitas for violin solo "with an added accompaniment for piano" by Bernhard Molique(25), with the following words: "I also have another question. Perhaps you already know that my arrangement of Bach's violin sonatas is going to be published by Breithopf and Härtel (in 6 volumes): I have arranged the violoncello sonatas in the same manner and am ready to offer them to you on the same conditions as to Härtel. These are the most beautiful and important compositions ever written for violoncello. "(26)

However, the pieces were not accepted for publication. The publisher acquired solely the "Phantasie" for violin and orchestra Op. 131, which Schumann had offered him in the same letter. Nonetheless, Schumann's interest in his arrangements did not let up: on 31 December 1853, he - or perhaps his wife Clara - played the suites nos. 1 to 3 and on 1 January 1854 the suites nos. 4 to 6 with the Düsseldorf cellist Christian Reimers.(27) These works by Bach are thus to be numbered among the last musical impressions which Schumann experienced before the outbreak of his illness and his attempted suicide on 27 February.

A number of Schumann's works were still published even after his committal to the sanatorium in Endenich on 4 March 1854; the patient took an active interest in the preparations. And after his death on 29 July 1856, Clara Schumann and Johannes Brahms attended to the publication of further compositions. Apparently, the piano accompaniments for the cello suites by Bach seem to have been forgotten. It was only when Julius Schuberth (of Hamburg, later of Leipzig; he had published the "Album for the Young" Op. 68 in 184 asked about them that Clara once again turned her attention to this manuscript. On 2 January 1860, she wrote from Berlin to the violinist Joseph Joachim, who was greatly esteemed by Schumann and who numbered among her dearest musician friends: "I was right in thinking that you would be terribly busy with your concert, and I am all the more reluctant to approach you today with my request, which robs you of some of your precious time. I am sending you the Bach cello suites and beg you to look them over and tell me if I can have them printed as they are - Schubert[h] wants them as soon as possible ... "(2

On 13 January 1860, Joseph Joachim, who was concertmaster in the court orchestra in Hanover, wrote back from this city just after having performed at court with his friend Brahms: "I just realized that I left the Bach volume for violoncello with Schumann's accompaniments with you. Please send it at your earliest convenience. If it arrives on Sunday morning Johannes will also be able to tell me what he thinks since he is leaving only on Monday morning ... "(29)
But it took almost half a year before Joseph Joachim expressed his opinion on the publication of Schumann's arrangements in a letter from Bonn dated 5 July 1860:

"Afterwards we played through the accompaniments for the cello sonatas together, naturally without an audience. After having gone through them several times, and feeling it my duty to be scrupulously upright towards you, I cannot do otherwise than to express the hope that you have not definitively promised Sch[uberth] these works. While playing through the pieces in Hanover, I had marked several passages which I wanted to alter; in certain other passages, I had hoped that Johannes would find my objections too punctilious - but our friend completely agreed with all my objections, and thanks to his brilliant mind and his profound empathy with the Bach spirit, he even convinced me of the non-Bach character of many passages which I now no longer want to leave untouched! - In short, I must truly seriously warn you not to have these published, as much as this duty towards the beloved, dear master saddens me. Every day I look up to his music with ever greater admiration and thankfulness for such magnificence. But precisely because the laurels on the wreath of his immortality with which posterity has crowned him are still so fresh and dense, we should be cautious not to be so forbearing as to add a withering leaf to it rather than conceal it from the gaze of the musical world in an act of solicitous love. Sch[uberth] does not have to know the reason; with his exploitative ostentatious peddlery, he doesn't deserve to be told our most intimate thoughts. You could simply write him that a comparison with the Berlin Bach manuscript (30) brought to light too many divergences and that in view of the precision of the critical examination to which Bach's works are now submitted, only Schumann himself would have been in a position to judge what should be changed or left as is in the accompaniment. Such people are always easy to be dealt with!(31)

On 8 July 1860, Clara Schumann wrote back from Bad Kreuznach: "Above all, I wish to thank you for having gone through the Bach sonatas again so carefully and for having told me your opinion in an honest but delicate manner. Your conscientiousness shows me how you love and admire the dear master, just as the way in which you always speak of him does me such a great deal of good. I agree with you completely on everything and will write to Sch[uberth] as you advised me. He will certainly make quite a fuss, since he has already announced the publication... "(32)
Five days later Brahms was also informed of Clara's decision in a letter: "I sent Schubert[h] my definite refusal to have the cello sonatas and the two movements from the violin sonata published. "(33) The fate of the arrangements was thus sealed; they remained unpublished (34) and the autograph itself has to be considered as lost for the time being.(35) Thanks to a stroke of fortune, the editor discovered in the Landesbibliothek of the Palatinate in Speyer in the fall of 1981 a transcription of Schumann's piano accompaniment of the Suite No. 3 (BWV 1009) by the hand of the cellist Julius Goltermann (1823-1876). Goltermann, who was probably not related to the famous cellist Georg Goltermann, came from Hamburg, had studied with Friedrich August Kummer in Dresden, and was active as a cellist in his native city before going on to teach at the Prague conservatory in 1850. In 1862 he became solo cellist in the Stuttgart court orchestra and held this position until his retirement in 1870.36 It was during Goltermann's Stuttgart years that he transcribed the work, entitling his copy: "(Viobnceüo/Sonata by/J.S. Bach./Piano Accompaniment / by / Robert Schumann. /Manuscript/С major / No. Ill /Julius Goltermann / Stuttgart the 5th / of April 1863 /Bodenbach [?] the /30th of September 1863/2 letters to Stgt/to G and E."
The authenticity of this not very carefully written copy of the score (without separate cello part) is beyond all doubt. What is unclear is when and under what circumstances Goltermann obtained Schumann's original manuscript or another copy of it and whether he transcribed only this suite or all six. His manuscript is bound together with a copy of the first edition of the suites Six / Sonates / ou Etudes/ Pour le Violoncelle Solo / Composées /par /]. Sebastien Bach. / Oeuvre Posthume. "Leipzig, H. A. Probst"; however, the cello part of the transcription does not follow this edition, but that of the well-known cellist Johann Friedrich Dotzauer (1783-1860) in almost all details (e.g. in articulation, dynamics, fingerings, even in the variants and errors of the music text).
The "Six / Solos / ou / Etudes /pour le Violoncelle/ Ouvrage Posthume/de/f.S. Bach/Avec le Doigter et les Coups dArchet indiqués /par/J.J. F. Dotzauer. " had been published by Breitkopf & Härtel in 1826. Hence it is likely that Schumann also based his work on Dotzauer's edition.

Schumann's letters to Breitkopf & Härtel and Kästner show that Schumann was very well aware of the difficulties and the great responsibility concerning his self-imposed task. Although only the accompaniment for Bach's Chaconne in D minor from the Partita in D minor (BWV 1004) by Mendelssohn was published by Breitkopf & Härtel in 1848,(37) a review by Schumann of a concert in the year 1840 lends weight to the assumption that Schumann actually received the impulse for his project from Mendelssohn: "With his effervescent talent, Mendelssohn also played the chromatic phantasy and fugue and the five-part [fiigue] in С sharp minor by J. S. Bach, while the concertmaster Mr. David, accompanied by Mendelssohn, gave an extraordinary rendering of two compositions of inestimable value from the sonatas for violin solo by Bach, the very ones of which it used to be said that it "is impossible to imagine them with an additional part" - this was disproved by Mendelssohn in the most captivating manner, namely by gracing the orignal part with such a variety of voices that it was a real joy to hear. "(3

Schumann provided still more details in a second review of the same concert which he wrote for the "Allgemeine Zeitung" published by Brockhaus in Leipzig and which appeared on 1 March: "David performed a Ciaconna by J.S. Bach, an excerpt from one of those sonatas for violin sob of which someone claimed, incongruously enough, that it was 'impossible to imagine them with an additional part'. This was disproved in the most striking manner by Mendelssohn, who accompanied him so wonderfully on the piano that the immortal old cantor himself seemed to have his hand in the performance. It is not impossible that Bach imagined his piece this way - for the composer who is a true master always conceives his work in the most consummate manner (even through the virtuosos may not like to admit it) without ever hearing it in such perfection and with such convincing naturalness. "(39)

Schumann's piano accompaniments should not be seen as "stylistic transgressions" or as a wanton meddling in the work of another master - these and similar misguided and unfounded reproaches were later to be heaped upon Schumann - but rather as "harmonic braces" as he himself accurately put it. These "braces" were "fastened" to the pieces solely in order to bring out the musical qualities of the original in a more vivid manner and to heave the pieces into the view of a public which was not used to unaccompanied violin music. Even today, the discreetness of Schumann's arrangements deserves our full admiration: the piano accompaniment never takes the upper hand
and is treated with surprising variety in harmony with the character of each movement (for example, the basses appear at times with and at times without an octave doubling). The accompaniment often gives the impression of a figured bass line which has been realized with great imagination. It tastefully sets rhythmic as well as harmonic accents and reinforces melodic lines which are sometimes obscured by the virtuoso activity of the soloist. Schumann does not even shy from long rests in the accompaniment in order to allow the violin or cello to freely develop its material. From this point of view, the newly rediscovered accompaniment for the Suite No. 3 for violoncello differs stylistically in no way from those of the works for violin with which we have already been familiar.

Another admirer of Schumann's accomplishment was the Bach biographer Philipp Spitta, a friend of Johannes Brahms:

"This ciacona is a triumph of spirit over matter, a triumph whose brilliancy has yet to be surpassed. There have been many attempts in the recent past and even lately to melt this precious material into a form suited to other instruments. Although aesthetically not in the least reprehensible - as Bach showed us himself with his own arrangements - a successful arrangement requires the hand of a master. One of the most commendable tasks taken upon themselves by two of the greatest masters of modern times, Mendelssohn and Schumann, was to create appropriate piano accompaniments for the ciacona. The impressive results underscore the amazing intensity and fertility of the original substance. However, Schumann, who arranged all six violin solos in this manner, not only captured the essence of the music much more profoundly, but also brought out the ciacona form much more distinctly thanks to the exact articulation of the development from period to period. "(40)

In the 20th century, a misguided notion of authenticity arose and began to undermine not only Schumann's arrangements, but those of many other great masters as well. However, musicological research of the last few years has shed a new light on the historical role of such arrangements which helps us judge them more objectively and rediscover their musical charms.(41) Curiously enough, Bach himself would have to be numbered among the victims of the "Romantic aberration" which infuriated the purists: in 1775, Bach's pupil Johann Friedrich Agricola commented followingly upon the six sonatas and partitas for violin solo: "Their composer often played them himself on the clavichord, and added just as much harmony as he deemed necessary. In so doing he acknowledged the importance of a sounding harmony, which he could not otherwise fully achieve in this composition."(42) The fact that Clara Schumann, Joseph Joachim and Johannes Brahms prevented the publication of the piano accompaniments for the cello suites is to be seen above all as a result of their fateful deference towards Schumann's artistic legacy. This overzealous solicitude also explains why the wonderful violin concerto in D minor was only first published in 1937(43) and why the Romances for violoncello and piano, written in 1853, were destroyed by Clara Schumann herself.(44) The originality and quality of Schumann's late style remained a mystery to Schumann's three intimate companions as well as to many other musicians up into our own times.(45)
In addition, a puristic understanding of Bach and his works began to take form towards 1860 and has not been fully overcome to this day. It is utterly impossible to speak of "a quantity of non-Bach" elements in the accompaniment for the Suite No. 3 for violoncello, as Joachim and Brahms had done; moreover, the solo part differs only in few passages - leaving aside the problematic question of articulation(46) - from that contained in the critical editions widely used today. The short critical notes on the revision provide documentary evidence for this claim as well as for other editorial decisions.
I am very grateful to the Landesbibliothek of the Palatinate in Speyer for having provided photocopies of the work and granted permission for publication, and to Miss Eva-Maria Hödel for her reliable help with the editorial work and proof-reading.

Karlsruhe, Spring 1985 Joachim Draheim

[kjsdh629]

Notes
Books referred to in abbreviated form:
Kreisig I/II = Gesammelte Schriften über Musik und Musiker von Robert Schumann, fifth Edition..., ed. by Martin Kreisig, Vol. I /Vol. II, Leipzig 1914
Erler I/II = Robert Schumann's Leben. Aus seinen Briefen geschildert von Hermann Erler, 2 Vols., Berlin 1886
Jansen = Robert Schumanns Briefe. Neue Folge. Ed. by F. Gustav Jansen. Second enlarged and revised edition, Leipzig 1904.
1 Kreisig I, p. 492. See also two comments by Schumann from 1838:
"Little can he said of the music by Bach which was played; one has to take it into one's hands and study it as much as possible; and at the end, Bach remains as unfathomable as before? (Kreisig I, p. 376) and "Bach's works represent a capital for all times." (Kreisig I, p. 402).
2 Kreisig I, p. 11 (1834)
3 Kreisig I, p. 305 (1837)
4 Robert Pessenlehner, Johann Sebastian Bach und Robert Schumann (Zum 250. Geburtstag J.S. Bachs and zum 125. Geburtstag R. Schumanns), in: Zeitschrift fur Musik 102/1935, p. 273-280; Henk Stam, Schumanns Rückschau auf Bach, in: Neue Zeitschrift für Musik 117/1956, p. 411-413; Georg von Dadelsen, Robert Schumann und die Musik Bachs, in: Archiv für Musikwissenschaft 14/1957, p. 46-59, now also contained in: Georg von Dadelsen, Über Bach und anderes. Aufsätze und Vorträge 1957-1982, edited by Arnold Feil and Thomas Kohlhase, Laaber 1983, p. 9-17, 222-225; Uwe Martin, Ein unbekanntes Schumann-Autograph aus dem Nachlaß Eduard Krügers (Schumanns Abschrift von Bachs "Kunst der Fuge"), in: Die Musikforschung 12/1959, p. 405- 415; Laura Bettag, J. S. Bach im literarischen und musikalischen Werk Robert Schumanns (Scholarly project for the final examination at the Fachhochschule für Bibliothekswesen in Stuttgart, 1984). The extensive but on the whole rather uninformative contribution to this theme by Wolfgang Boetticher (Robert Schumann - Einführung in Persönlichkeit und Werk, Berlin 1941, p. 223-233) contains numerous oversights, errors and false deductions, which have been refuted in part by von Dadelsen and Martin (loc. cit.).
5 Robert Schumann, Selbstbiographische Notizen. Facsimile, ed. on behalf of the Robert-Schumann-Gesellschaft by Dr. Martin Schoppe, no year and date (Zwickau 1977)
6 Jugendbriefe von Robert Schumann. Nach den Originalen mitge-theilt von Clara Schumann. Second edition, Leipzig 1886, p. 187 (from the "Conceptbuch"). Schumann's sketch book V (Universitätsbibliothek Bonn, Mus. ms. Schumann 17, p. 1-7) contains arrangements for study purposes of three fugues from the "Well-Tempered Clavier" (BWV 847, 846, 84. Many years later, Schumann recommended in his "Musikalische Haus- und Lebensregeln": "Play the fugies of worthy masters diligently, particularly those ofJ oh. Seb. Bach. Let the Well-Tempered Clavier be your daily bread. And you shan'tfail to become an accomplished musician.-' (Kreisig II, p. 166).
7 Kreisig II, p. 201. The following sentences read: "He was a man through and through. That is why we find no half-measures in his works, but only perfection, works written to last for all times." These comments not only tally with the quotation from the letter to Kuntzsch, but also with a diary entry dated 14 May 1832: "Johann Sebastian Bach did everything in full - he was a man through and through." (Robert Schumann, Tagebücher, Vol. 1:1827-1838, ed. by Georg Eismann, Leipzig 1971, p. 389).
8 See also Uwe Martin, Ein unbekanntes Schumann-Autograph aus dem Nachlaß Eduard Krügers, loc. cit. (Note 4).
9 Kreisig I, p. 314: "And after all, wouldn't it be timefor the German nation to finally decide to edit a complete collection and to publish the entire works of Bach, for the good of us all?"
10 The works in question are: Fugue in С minor BWV 575, Fugue in E minor BWV 945, Chorale Preludes on "Ich ruf zu dir, Herr Jesu Christ" BWV 639, "Das alte Jahr vergangen ist" BWV 614 and "Durch Adam's Fall ist ganz verderbt" BWV 637, Fantasia in С minor BWV 562 and the chorale setting "О Mensch, bewein' dein' Sünde groß" BWV 622. Schumann commented upon the musical supplements in an "Invitation" (Einladung) in 1838: "We deem it worthwile to bring to the public's attention many of J. S. Bach's unpublished compositions, of which some of the most magnificent are in our possession!' (Kreisig II, p. 330).
11 Erler I, p. 222
12 Kreisig I, p. 357
13 Kreisig I, p. 354
14 These statements make it obvious that Schumann's understanding of Bach had absolutely nothing in common with the narrow-minded, one-sided Bach veneration which has clouded the musical understanding of many Bach followers of the 20th century.
15 Erler II, p. 5. Schumann wrote about this work to the organist Carl Ferdinand Becker on 8 February 1847: "... / have never before worked so long and with such conscientiousness on one of my compositions, only to make it not unworthy of the eminent name which it bears" (Erler II, p. 15).
16 See Schumann's letters to Moritz Hauptmann dated 22 February and 8 May 1851 (Erler И, p. 136-137, 144-146).
17 See: Erinnerungen an Felix Mendelssohn Bartholdy. Nachgelassene Aufzeichnungen von Robert Schumann. Ed. by the Städtisches Museum Zwickau (Saxony). Revised by Dr. Georg Eismann, Second enlarged and revised edition, Zwickau 1948, p. 35, 39, 40, 43, 44, 52, 71, 73 and numerous other pages.
18 Robert Schumann, Tagebücher, Vol. III: Haushaltbücher, Teil 2 (1847-1856), ed. by Gerd Nauhaus, Leipzig 1982, p. 612-617
19 Jansen, p. 479
20 Jansen, p. 479-480
21 Robert Schumann's Briefe. Neue Folge. Ed. by F. Gustav Jansen, Leipzig 1886, p. 383
22 A copy of this edition, which was published in 6 separate volumes, is preserved in the archives of the publishing house Breit-kopf & Härtel in Wiesbaden. Another edition of the arrangements with a violin part edited by Joseph Hellmesberger (first published by Peters in Leipzig in 1865) is still in print (Edition Peters 228 c/d).
23 See: Wilhelm Altmann, Zur Verbreitung von Bachs Sonaten und Suiten für Violine bzw. Violoncell solo, in: Die Musik 15, 3/1922, p. 206-207.
24 Robert Schumann, Tagebücher, Vol. III: Haushaltbücher, Teil 2..., loc. cit., p. 620, 622
25 See Schumann's letter to Breitkopf & Härtel of 3 January 1854:
"Before Iforget -you need not worry about the Molique arrangements. There are only 8 pieces and in such an eclectic combination that they are of little artistic value. Bach's sonatas form a unity just as much as any other sonatas, or rather, much more than others. Hence I believe that there will be no harm - on the contrary, those who enjoy the selections will eventually want to acquire the complete work." (Jansen, p. 487).
26 Jansen, p. 486
27 Robert Schumann, Tagebücher, Vol. III: Haushaltbücher, Teil 2..., loc cit., p. 644: "37. [12.1853] ... in the evening music with Reimers ... Sonatas by Bach. 1-3. -... 1. [1.1854]... Afternoon, played, same as yesterday. Bach Sonatas 4-6.-"
28 Briefe von und an Joseph Joachim. Collected and edited by Johannes Joachim and Andreas Moser, Vol. II, Berlin 1912, p. 66-67
29 Briefe von und an Joseph Joachim ...., loc. cit., p. 67-68
30 He undoubtedly referred to the manuscript copied by Anna Magdalena Bach which was preserved in the Royal Library in Berlin (Mus. ms. Bach P 26) - an autograph of the suites does not exist.
31 Briefe von und an Joseph Joachim..., loc.cit., p. 105-106; Berthold Litzmann, Clara Schumann. Ein Künstlerleben..., Vol. III, Leipzig 31910, p. 79-80. From a remark by Joseph Joachim in a letter to Clara Schumann dated 13 June 1860, we know that they were still considering the publication of the arrangements in June: "Tomorrow I shall be playing through the Bach sonatas with Lindner (August Lindner, a cellist in Hanover). Where shall I send the manuscript? I shall await your instructions..." Clara answered on 14 June: "Please send the Bach sonatas in my name (and with my anticipated thanks) directly to &r/?[uberth] in Leipzig - it is the quickest way Г (Briefe von und an Joseph Joachim ..., loc. cit., p. 100-101).
32 Briefe von und an Joseph Joachim loc. cit., p. 106. In none of the issues of the "Neue Zeitschrift für Musik" of 1859 and 1860 are there any indications of a planned edition of the Bach suites with Schumann's accompaniments in the numerous advertisements of the publishers J. Schuberth & Co. in Leipzig and F. Schuberth in Hamburg.
33 Clara Schumann - Johannes Brahms, Briefe aus den Jahren 1853— 1896. Edited by Berthold Litzmann on behalf of Marie Schumann, Vol. I: 1853-1871, Leipzig 1927, p. 315. The "2 movements from the violin sonata"refer to the Intermezzo and Finale from the sonata called "F-A-E", which Schumann wrote together with Albert Dietrich and Johannes Brahms and which was dedicated to Joseph Joachim. It was first published in 1935.
34 Wilhelm Altmann, in his Zur Verbreitung von Bachs Sonaten und Suiten fur Violine bzw. Violoncell solo, loc. cit., p. 207, comments: "The piano accompaniment written by Schumann ... has yet to be published." Towards 1870, Gustav Heinze in Leipzig published an edition bearing the title "Joh. Seb. Bach s Sonatas for Violoncello sob. With Pianoforte Accompaniment, Edited by Dr. W. Stade, Ducal Saxon Court Music Director. New, Inexpensive Edition, correctly based on the Revision made by Robert Schumann in the light of the Berlin Manuscript." (in separate editions as well as in one volume, including the sarabandes separately as well as in an edition with viola). Several factors prove without the possibility of a doubt that these were not Schumann's piano accompaniments. Whereas Kurt Hofmann and Siegmar Keil (Robert Schumann. Thematisches Verzeichnis sämtlicher im Druck erschienenen musikalischen Werke mit Angabe des Jahres ihres Entstehens und Erscheinens, 5th enlarged and revised edition, Hamburg 1982, p. already expressed their doubts on the authenticity of this publication, the "New Grove Dictionary of Music and Musicians", edited by Stanley Sadie, vol. 16, London 1980, in the article "Robert Schumann" on p. 856 apparently does not seem to doubt its credibility ^Publication cl870"). 1) The piano accompaniments of this edition are extraordinarily ponderous, obtrusive and stylistically are far removed from Schumann's accompaniments for the sonatas and partitas for violin. 2) Altmann (loc. cit., p. 207) pointed to a piano accompaniment by Wilhelm Stade (1817— 1902). 3) The volumes appeared in print several years previously, published by Gustav Heinze, without the indication of Schumann's collaboration, whereby the same printing plates were apparently used. 4) A comparison with the music text of the rediscovered third suite shows not the slightest resemblance either in the cello part or in the piano accompaniment. - It remains unclear why the publisher added this indication of a revision by Robert Schumann of which nothing is known.
35 Apparently answering a query by Clara Schumann, Joseph Joachim wrote to her from Norderney on 20 September 1873: "I shall look everywhere to see if I can find the accompaniments for the Bach sonatas, but I disctinctly recall that I dot not have them. " (Briefe von und an Joseph Joachim. Collected and edited by Johannes Joachim and Andreas Moser, Vol. Ill, Berlin 1913, p. 128-129).
It is no longer possible to know where the manuscript was at that time. Georg Eismann, in his Nachweis der internationalen Standorte von Notenautographen Robert Schumanns, in: "Sammelbände der Robert-Schumann-Gesellschaft 11/1966, Leipzig 1967, p. 7-37, does not even mention these arrangements. The "Riemann Musik Lexikon" (Personenteil L-Z, Mainz 1961, p. 655/ 656) mentions them (with the false dating 1854) without further comment, and "Die Musik in Geschichte und Gegenwart" (Vol. 12, Kassel 1965, Col. 297) lists them solely as "Ms".
36 See: "Die Musik in Geschichte und Gegenwart", Vol. 5, Kassel 1956, Col. 498 (Article by Kurt Stephenson), "The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, Vol. 7, London 1980, p. 511.
37 The title reads: "Joh. Seb. Bach's Chaconne with variations for violin solo, with added pianoforte accompaniment by Felix M. B. ". Towards 1890, Peters in Leipzig published under the title "Chaconnefor violin solo by Joh. Seb. Bach with piano accompaniment by Rob. Schumann and F. Mendelssohn Bartholdy" an edition which reproduces both Schumann's and Mendelssohn's accompaniments beneath the violin part. This permits very interesting comparisons.
38 Kreisig I, p. 511. See also Kreisig II, p. 53.
39 Kreisig II, p. 439
40 Philipp Spitta, Johann Sebastian Bach, Vol. I, Wiesbaden 1979 (Reprint of the 4th unchanged edition, Leipzig 1930), p. 706
41 See: Paul Mies, Gedanken zur Bearbeitung von Werken Joh. Seb. Bachs (Jahresgabe 1976 der Internationalen Bach-Gesellschaft Schaffhausen), Wiesbaden 1978.
42 Dokumente zum Nachwirkenjohann Sebastian Bachs 1750-1800. Presentation and Comments by Hans-Joachim Schulze, Kassel 1972, p. 293 (No. 808: Agricola: Spiel der Violinsonaten auf dem Klavichord, Berlin, 1775, see also No. 695, p. 124). See also: Walter Kolneder, Lübbes Bach Lexikon, Bergisch Gladbach 1982, p. 268, where I found this important reference.
43 Ed. by Georg Schünemann, Mainz, В. Schott's Söhne
44 Richard Heuberger, Erinnerungen an Johannes Brahms. Tagebuchnotizen aus den Jahren 1875 bis 1897, - first complete edition by Kurt Hofmann. Second enlarged and revised edition, Tutzing 1976, p. 60: "Schumann left many things which did not at aü deserve to be published. Pieces from his early and late periods. A few weeks ago, Frau Schumann even burned a volume of cello pieces by Schumann because she feared that they might be published after her death. I was quite impressed by that." (comments by Brahms to Richard Heuberger from 26 March 1893). Thus it cannot be excluded that Clara Schumann did not also destroy the manuscript of the piano accompaniments for the Bach cello suites at this time.
45 It is thus all the more surprising when one reads the following in a letter by Joseph Joachim to Robert Schumann on 3 March 1855:
"Highly honoured Master! For several days now I have been together with your dearest Klara in Danzig a wonderfully old-fashioned city which charms me with its many interesting buildings and unique character. One is overcome by the Bach-like atmosphere; we have played many of his violin sonatas with your accompaniments, which I enjoy increasingly the more I play them; what magnificent harmonies your mind, or rather your heart, devised for the Adagios, dear honoured master. If only I could play one of the slow movements for you!..." (Briefe von und an Joseph Joachim. Collected and edited by Johannes Joachim and Andreas Moser, Vol. I, Berlin 1911, p. 260).
46 For this matter and other problems of performance practice see: Erwin Grützbach, Stil- und Spielprobleme bei der Interpretation der 6 Suiten für Violoncello solo senza Basso von Johann Sebastian Bach BWV 1007-1012, 2nd enlarged edition, Hamburg 1980 (with bibliography). However, the author does not treat the subject of Schumann's piano accompaniments.

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Hello! Thank you very much for the post and sorry to write in english! One question: where do you have this information from (is this article somewhere published) and why is "Karlsruhe, Spring 1985 Joachim Draheim" stated at the end of the article? I'm looking forward to hearing from you! Thank you very much in advance.

[kjsdh629]

Hello! Thank you very much for the post and sorry to write in english! One question: where do you have this information from (is this article somewhere published) and why is "Karlsruhe, Spring 1985 Joachim Draheim" stated at the end of the article? I'm looking forward to hearing from you! Thank you very much in advance.

Sorry for the delay!
This article is the preface to the edition in subject, scanned and digitally recognized, just as it is.

[скрипка1]

Sorry for the delay!
This article is the preface to the edition in subject, scanned and digitally recognized, just as it is.

Thank you very much for your reply and information!