M

22
.Bll
W644
1893
vol. 1

lU^liiilliill£il^tiZiiilUiltii^^

SCHIKIAEFJS
LIB FLA FLY
i
Schirmer's Library of Musical
Classics
• •

Vols. 13-14

J OH ANN Sebastian Bach

THE WELL-TEMPERED
CLAVICHORD
FORTY-EIGHT PRELUDES AND FUGUES
IN TWO VOLUMES

f
EDITED BY
CARL CZERNY
WITH A BIOGRAPHICAL SKETCH OF THE AUTHOR BY
PHILIP HALE

G. SCHIRMER (INC.), NEW YORK

Copyright, 1893, by G. Schirmer (Inc.)

Printed in the U. S. A.
fXOHANN SEBASTIAN BACH, sanguine temper was stormy.
; his

%J the greatest member of a large He was aware of his own worth yet ;

family of distinguished musicians, he was free from the common jeal-

was born at March 21,
Eisenach, ousy and vanity Of musicians. A
1685. Hisfather, Johann Ambrosius severe teacher, he was beloved by
Bach(i645-i695) was a violinist and his pupils. He was robust, broad-
an organist, and he married for his shouldered, with highly developed
first wife, Elizabeth Lammerhirt of forehead, deep eyes, good and large
Erfurt, who died when Sebastian, mouth : a face of keenness, frank-
her eighth and last child, was about ness, and strength. The man was
nine years old. After the death of economical, honorable, yes, noble.
his father, Sebastian was brought As a musician he summed up
up and taught by his brother, Johann the past, exhausted his own age,
Christoph, organist at Ohrdruff the ; and looked beyond even the end of
boy had received violin lessons from this century. But we have not to
his father, and, in all probability, do with the Maker of the Matthew
clavichord lessons from his uncle, Passion, the Mass and the church
Johann Christoph. Stories are still cantatas ; nor may we now regard
told of the jealousy of Sebastian's brother and the secret the master of organ prelude and fugue ; we are concerned
studies of the boy, who sang in and in 1700
the choir, with the composer of "The Well-tempered Clavichord,"
received free education in Liineburg, from which place he sometimes called "the 48 preludes and fugues."
made excursions on Hamburg, to hear the organists
foot to This work is in two parts, and each part contains 24
Reinken and Liibeck. About this time Bach became ac- preludes and 24 fugues. The first part was finished in
quainted with the works of the French clavecinists and ;
1722 at Kothen, and to this part alone he gave the name
the influence of Couperin, the Great, is seen in many of " The Well-tempered Clavichord." The second part was
his compositions for clavichord. We know little com- finished in Leipzig, probably in 1744. It is believed that

paratively of the education of Bach ; but it is more than early compositions, were used in the compilation of the
probable that he was essentially an autodidact. first part, and it is certain that many preludes had already

Bach's first position was in 1703 as violinist in the appeared as independent compositions.
orchestra of Prince Johann Ernst at Weimar. A few Bach is said to be the introducer of our present
months afterward he was appointed organist of the New system, the "equal temperament," but it was known
church at Arnstadt, in which town he staid four years. probably before, as Mersenne gave the correct number of
He visited Lubeck, and associated with Buxtehude, who the ratios in 1636. In the first system of temperament,
influenced mightily his compositions for organ. In 1707 the "unequal" or "mean-tone," the more common scales
Bach moved to Miillhausen, where he played the organ were fairly accurate, were ignored. Our present
the others
and taught for a year. Here he was married to his cousin, system is a compromise, and the only interval tuned
Maria Barbara, by whom he had seven children, of whom with accuracy is the octave. "The sharp of a tone and
four grew up. 1708 saw the couple in Weimar, where the flat of the tone that follows are regarded as identical"
Bach was court organist and chamber-musician to the Bach here showed the possibilities of the new system.
reigning duke, William Ernst, who was fond of church- A new system of fingering was introduced inevitably
music. Nine years were spent busily and agreeably in by this work. Before Bach, the little finger and the
Weimar. In 1717 Bach entered the service of Leopold, thumb were almost never used, for although Couperin
prince of Anhalt-Kothen, and lived at Kothen where he gave in 17 17 directions for using them, his manner is
had neither an organ to play nor a chorus to lead he ;
strange, at times inexplicable. J. A. Hiller tells us in his
devoted himself to orchestral and chamber music. His life of Bach (1784) that Bach employed all the fingers

wife died in 1720 ; the next year he married Anna Mag- equally he had invented his own system of fingering
;

dalena Wiilken, the daughter of a court trumpeter she ;

for conquering difficulties, and it rested chiefly on the use

sang, copied music, and bore her husband thirteen of the thumb.
children, six of whom grew up ;
she died in 1760, after From the purely musical standpoint, these preludes
living for eight years Bach went to
on public charity. and fugues are a monument for all time. As William
Leipzig in 1723 to fill the positions of Cantor at the Cart well says, this chaste Muse shuns the "screaming"
Thomas School and musical director of the city. Here light of the concert hall,nor will she speak to the jaded
he labored for twenty-seven years. His eyes troubled ears of a crowd indifferent, or greedy for startling effects.
him seriously during the latter years of his life, and at the " Each of these pieces has its own cachet and you re- ;

end he was totally blind. He

died July 28, 1750. member it, Are some severe ?
as the face of a loved one."
These are the baldest outlines of a life distinguished Others are full of modern romanticism. If Bach now

by enormous labor. We have no time to look at the pours out his soul in prayer, or gives way to gloomy
contests with foreign virtuosos, the interest in new in- thought, at other times he laughs with peasant gayety and
struments, the parochial quarrels with petty officials, the dances and sings with the people. And often the most
intercourse with rulers. The man's life was one of surprising contrapuntal feat escapes notice by the apparent
counterpoint and household joy and care. His nature was simplicity of the performance. Philip Halb.

tiois Copyright, 1893, by G. Schirmbr.

 ; : ; : : ; : ;

Preface. Vorwort.

The principal object in issuing this new edi- Bei dieser neuen Ausgabe von J. S. Bach's
tion of J. S. Bach's " Well-tempered Clavichord
"
wohltemperirtem Clavier hat man vor Allem ge-
strebt, durch Vergleichung aller frtthern Aus-
has been to make it as correct and complete as
gaben so wie einiger &ltern Handschriften, die
possible, both by means of comparison with all
moglichste Correctheit und Vollstandigkeit zu
preceding editions, and by collating with some erlangen. In der Angabe des Fingersatzes, wo-
earlier manuscripts. In marking the fingering, durch dieses Werk eine weit grfissere Gemein-
which renders this issue far more generally use- nutzlichkeit erhalt, wurde stets der zweifache
ful, two points have been steadily kept in view
Gesichtspunkt beachtet
First, to keep the hands as quiet as may be, Erstens, die Hande, auch in den verwickel-
even in extremely complicated passages; testen Fallen mdglichst ruhig zu halten
Zweitens, jede einzelne Stimme von den
Secondly, to enable the player to bring out
Andern unabhangig, streng gebunden und
each separate part independently, with
folgerecht ausfuhren zu konnen.
perfect smoothness, and with due regard to
Der Spieler wird verwendende
die daran zu
the phrasing.
Miihe, sowohl auf dem Pianoforte wie auf der
Patient study, either on the pianoforte or on Orgel, durch die gehaltreiche Wirkung belohnt
the organ, will be rewarded by the rich and full finden, die mit einem vollstimmigen und fliessen-
effect produced by a smooth and flowing poly- den Spiele hervorgebracht wird.
phonic rendering. Das Zeitmass und den Vortrag habe ich
It has been my endeavor to indicate tempo
Erstens, nach dem unzweifelhaften Charac-
and interpretation ter eines jeden Satzes
First, according to the unmistakable char- Zweitens, nach der wohlbewahrten Erin-
acter of each movement nerung wie ich eine grosse Anzahl dieser
Secondly, according to the well-remem- Fugen einst von Beethoven vortragen
hSrte;
bered impression made on me by Beetho-
Drittens, endlich nach den Ideen aufzu-
ven's rendering of a great number of these
zeichnen und zu bewahren gesucht, welche
fugues
ich selbst durch ein mehr als dreissigjahri-
Thirdly, according to convictions matured ges Studium dieses Werkes in mir fest-
by more than thirty years' study of this setzte.
work.
Wo ein bedeutend schnelles Zeitmass vorge-
Wherever an extremely rapid tempo is indi- schrieben wurde, ist es naturlicher Weise nur
cated, this is, of course, meant only for the piano- fiir das Pianoforte berechnet. Wollte man je-
forte. When playing passages so marked on doch die so bezeichneten Satze auch auf der Or-
gel vortragen, dann miisste allerdings das Tempo
the organ, the tempo must be moderated very
bedeutend langsamer genommen werden.
decidedly.
Fiir diejenigen, denen kein Maelzel'scher
Those who have no Maelzel's Metronome at
Metronom zu Gebote steht, wird noch erinnert,
hand are reminded, that the Allegro in these old
dass das Allegro bei diesen altern Compositionen
compositions is to be taken, as a rule, much in der Regel viel ruhiger und langsamer zu neh-
more tranquilly and slowly than in modern works. men ist, als bei modernen Tonstucken.
CARL CZERNY.
Inverted Trill Trill
mordent. Mordent without after-beat. with after-beat.

Praller. Mordent.
-trr± ;

ITriller Triller
ohne Nachschlag. mit Nachschlag,
ixois
 Contents
Vol.1

page 4 Fllg"a a 4 voci Preludio page 62 Puga a 3 voci

page 64
page 6

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Preludio page 8 Puga a 3 voci Preludio page 66 Fug"a a 4 voci page 68
page 10

Preludio Puga a 3 voci page 14 Preludio page 70 Puga a 3 voci page 72

Preludio Fuga a 5 voci Preludio page 76 Puga a 4 voci pag-e 78

page 18 page 20

Preludio page 24 Puga a 4 voci page 26 Preludio page 80 Fuga a 4 voci

Preludio page 28 Puga a 3 voci Preludio page 84 Puga a 4 voci page 86

Preludio page 88 Fuga a 3 voci page 89

Preludio page 32 Puga a 3 voci
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Fug- a XXII.
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 SCHIRMER'S LIBRARY
of MUSICAL CLASSICS
COMPOSITIONS FOR PIANO SOLO, EXCLUSIVE OF STUDIES
VOL. NO. \'OL. NO. VOL. NO.
1314 ALBUM OF EASY BEETHOVEN, L. van {cont'd) CLASSIC SONATINA
CLASSICS 1509 Ecossaises (Busoni) ALBUM
621/625 5 Concertos with 2d piano in
1318 ALBUM OF OPERATIC score, by F. Kullak; Op. 15,
1141/42 fA Collection of easy sonatas of
diversified character and mis-
|

PIANO ARRANGE- C; Op. 19, Bb; Op, 37, C m.; cellaneous pieces, classified,
MENTS 1/2
Op. 58, G; Op. 73, Et»
fSonatas (Biilow-Lebert). 2 vols.
compiled, revised and fin-
gered by Sigmund Herzog.
1316/17 ALBUM OF PARLOR 301/303 JThe same, in 3 volumes
Variations (Biilow-Lebert and
Vol. 1141, easy; VoL 1142,
PIECES 6/7
others). 2 volumes
intermediate
1268tALBUM OF POPULAR fThe same, comp. in 1 volume CLEMENTI, M.
PIANO MUSIC BENDEL, F. 385/386 tTwelve Celebrated Sonatas
(Buonamici). 2 volumes
1815 ALBUM OF 25 PIANO 620
969
Op.
Op.
135.
139.
German Fairytales
By the Lake of Geneva
811 Six Sonatinas, Op. 36 (KShler)
CLASSICS 40 tTwelve Sonatinas, Op. 36, 37,
BENNETT, W. S. 38 (Kohler)
1264 tANTHOLOGY OF MOD- 400/401 Album. Selected Pieces
19 DIABELLI, A.
ERN CLASSICS FOR (Scharfenberg). 2 volumes 266 11 Sonatinas. Op. 151, 168
THE PIANO tThe same, complete in 1 volume (Klee)
32 compositions by Brahms, BIEDERMANN,
DvoMk, Grieg and others 819
A. J.
Op. 91. 12 Nursery Songs (easy)
DRAWI N G-ROO M
10 Very Easy Compositions
FAVORITES
1263 tANTHOLOGY OF PIANO 820
1237/39 (Oesterle.) 3 volumes
CLASSICS BIZET, G. Vol. I. 36 Pieces, 1st Grade
A collection of 28 selected coin« 357 L'Arlesienne. 2 Suites de Con- Vol. II. 22 Pieces, 2d Grade
positions by Bach, Beethoven, cert (W. K. Bassford) Vol. III. 22 Pieces, 3rd Grade
Chopin and others BRAHMS, J. DUSSEK, J. L.
ARMAND, J. O. 1347 Album of Piano Pieces 41 6 Sonatinas, Op. 20 (Klee)
(Whiting)
9M Op. 10. 40 Pieces for Beginners
1261 Op. 76. Capriccios and Inter- dvoMk, a.
mezzos (Whiting) 1036 Piano Album (Adler)
BACH) J. S*
1499 Op. 116. (Complete) Fantasies
15 fAlbum. ACollection of 21
(Rev. and ed. by C. Deis)
FIELD, J.
Favorite Pieces (Sara Heinze) 42 tl8 Nocturnes (Liszt)
Chromatic Fantasy and Fugue. 256 Hungarian Dances. Vol. I
22
Concerto in the Italian style. (Scharfenberg) FRANCK, C.
Fantasy, C m. Prelude and 431 The same. Vol. II 1232 Prelude, Choral ana Fugue
Fugue, A m. tThe same, complete in 1 volume (Pinter)
1500 Op. 117. Three Intermezzi
1494 Fantasie and Fugue in G m. (Rev. and ed. by C. Deis) GADE, N. W.
(Trans, for piano by Franz
Liszt and ed. by E. Hughes)
1501 Op. 118. Six Piano Pieces (Rev. 320 Op. 19, 57. Aquarelles
17/18 6 English Suites (Gzemy). and ed. by C. Deis) 552 Op. 36. Children's Christmas
2 volumes
1502 Op. 119. Four Piano Pieces Eve
(Rev. and ed. by C. Deis) 547 Op. 41. Fantasy Pieces
tThe same, complete in 1 volume
fFrench Suites (Czerny) 1080 Op. 79. Two Rhapsodies GODARD,
19
(Gebhard)
B.
16 t30 2- and 3-part Inventions 213/214 Album. volumes
18 Pieces. 2
(Mason) 1360/62 Three Sonatas (Whiting): Op.
1, C; Op. 2, F# m. ; Op. 5, Fm.
tThe same, in 1 volume
813 fThe same (Czerny and others) GOUNOD, C.
379 15 2-part Inventions (Mason)
1368 The same, complete in 1 volume
850 The same (Czerny and others) 1450/51 Op. 35. Variations on a Theme 1388 Ballet Music from "Faust"
1512 The same (Busoni)
by Paganini. In two books GRIEG, E.
15 3-part Inventions (Mason)
1511 32 Variations on an Original
380
Theme in C m. 106/107 Album. 45 Pieces. 2 volumes
851 The same (Czerny and others) (Oesterle)
The same 1260 Op. 39. Waltzes (Whiting)
1498 (Busoni) tThe same, in 1 volume
l687 8 Organ Preludes (Henderson) CHAMINADE, C. 198 Op. 3. 6 Poetic Tone-pictures
20/21 Partitas (Czerny and others). 211/212 Album. 17 pieces. 2 volumes (Ruthardt)
2 volumes fThe same, complete in 1 volume 199 Op. 6. 4 Humoresken (Oesterle)
424 18 Little Preludes and Fugues 892 Op. 7. Sonata (Gallico)
(G. Buonamici) CHOPIN, F. 201 Op. 8 Lyrical Pieces.
12.
1475 Prelude and Fugue in A m. Piano Works (Joseffy): Volume I. (Oesterle)
(Transcribed by F. Lisz^. 31 t4 Ballads (G m., F, Ab, F m.) 728 Op. 17. 25 Northern Dances am
Edited by Edwin Hughes 38 t4 Concert Pieces: Op. 2, Folk-tunes (Ruthardt)
15 21 Short Preludes and 6 Fugues Op. 13, Op. 14, Op. 22 200 Op. 19. Sketches of Norwegiai
(Mason) 1350 tConcerto, Op. 11, E m. Life (Oesterle)
13/14 Well-tempered Clavichord 1351 Concerto in F m.. Op. 21 1373 Op. 24. Ballade (Hughes)
^ (Czerny). 2 volumes 1039 Impromptus 771 Op. 28. 4 Album-leaves
fThe same, complete in 1 volume 28 tSl Mazurkas
1483/84 Well-tempered Clavichord, 30 tl9 Nocturnes 209 Op. 34. 2 Elegiac Melodic
Vols. I, II. (Ed. by E. Hughes.) 29 til Polonaises
(Spanish and English) 34 t25 Preludes 772 Op. 38. 8 Lyrical Pieces.
1184 Rondos Volume II (Oesterle)
BARGIEL, W. 32 t4 Scherzis: Op. 20, 31, 39, 54; 812 Op. 40. From Holberg's Tin
300 Op. 31. Suite, G m. and Fantasia, Op. 49 (von Sternberg)
(K. Klauser) 35 t3 Sonatas: Op. 4, Cm.; Op. 35, 773 Op. 43. 6 Lyrical Pieces.
Bt> m.; Op. 58, B m. Volume III (Oesterle)
BEETHOVEN, L. van 36 tVarious Compositions 205 Op. First Peer Gynt Suit
46.
970 Op. 33. Bagatellen 27 tWaltzes (Oesterle)
5 tEasy Compositions 39 JAlbum. 32 Favorite Composi- 774 Op. 47. 7 Lyrical Pieces.
(Biilow-Lebert) tions Volume rv (Oesterle)

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A Complete Catalog of Schirmer's Library of Musical Classics will be mailed if desired.

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