Bach, Johann Sebastian

FIRST EDITION, SECOND ISSUE, OF BACH'S "CLAVIER-ÜBUNG", PART TWO, containing the 'Italian Concerto' BWV971 and the 'French Overture BWV 831

upright 4to (c.34 x 24cm), [2 &] 27 pages, engraved throughout, A FINE COPY WITH CONTEMPORARY ANNOTATIONS, CORRECTIONS AND ORNAMENTATION, ADDED IN BROWN INK, contemporary half vellum, marbled boards, worn but sound, small tear to title repaired, not affecting the text

Neue Bach Ausgabe, V /ii, 'Kritischer Bericht' (1981) by W. Emery & C. Wolff, pp. 13ff; Hoboken Collection 93; BWV, p.634; RISM B 487 and BB 487; G. Kinsky, Die Originalausgaben der Werke Johann Sebastian Bachs (Vienna, etc., 1937), pp.29-33; G. Herz,  Bach-Quellen in Amerika/Bach Sources in America (1984)

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

THIS IS ONE OF THE FINEST COPIES OF A BACH FIRST EDITION THAT WE HAVE SEEN.

No autographs survive for either work in Part Two of Bach's Clavier-Übung, the 'Italian Concerto' or the 'French Overture'.  The first editions, including this corrected issue, are thus primary sources for two of the composer’s finest keyboard works.   Contemporary editions of Bach's works are in any case rare and precious; only some nine or ten were published during his lifetime, and invariably the autographs of these pieces are lost. Clavier-Übung II is considerably rarer than Clavier-Übung I: of the fifteen copies located by the Neue Bach Ausgabe (1981), only one is in America (Yale University) and there are none listed as being in private hands.

In order to correct the very large number of errors contained in the first edition, Bach had this second issue prepared and published before November 1736.  The music was revised throughout and, in particular, pages 20-22 of the French Ouverture, containing the 'Courante', the two 'Gavottes' and the two 'Passepieds', which were completely re-engraved, allowing for better page-turning and incorporating Bach's corrections and alterations.  The misprint "verferdiget" was also corrected on the title page. 

The present copy is notable for some distinctive additions and alterations in a professional hand.  Many of these annotations are also found in the celebrated copy of the first issue in the British Library (K.8.g.7), which are generally believed to have been added in Bach's own hand (although it is difficult to be confident about such small markings).  Among these are the rests at bars 108 & 111 on page 10, and the alto (C) clefs on the final 'Echo' on page 27 (bars 48 & 54); other markings in the London copy are naturally already engraved here.   In addition, some manuscript annotations in the present copy are apparently new, mainly ornamentation, including mordents and trills, for example: (i) at bar 31 on page 1 of the Italian Concerto, (ii) bars 8 & 10 of the 'Gavotte 2de' on page 21, (iii) throughout the two re-engraved 'Passepieds' (page 22) and (iv) bar 1 of the 'Sarabande' (page 23). There are also a number of corrections to errors made on the re-engraved pages that had been correct in the first issue.

The four parts of the Clavier-Übung represent the apogee of Bach's writing for the keyboard, whether for harpsichord, as in the case of Clavier-Übung I (1731), II (1735)  and IV (1741-2), or for organ, as in Clavier-Übung III (1739).  With the "Concerto in the Italian Style", BWV 971, from the second part of the Clavier-Übung, Bach provided an example of the most up-to-date and fashionable style of writing in music. As Christoph Wolff observes in The New Grove (2001), 'it embodies the ultimate stage in the process of transcribing instrumental concertos for keyboard, and stands in contrast to [the] "Ouverture in the French Manner" BWV 831 which, more markedly than the partitas, represents what was specifically French in harmony, rhythm, ornamentation and melodic invention'.  Sotheby's is grateful to Peter Wollny for his assistance in our preparation of this description.