Anna Magdalena Bach's Notebook 
這首歌出自《 Notebook for Anna Magdalena Bach 安娜 · 瑪格達蕾娜 · 巴赫的筆記簿》
巴赫為第二任妻子安娜 · 瑪格達蕾娜創作了兩套音樂手稿，稱為《安娜 · 瑪格達蕾娜 · 巴赫的筆記簿》（ Notebook for Anna Magdalena Bach ），分別編定於 1722 年和 1725 年。其中後者規模更大也更為著名，內容包括巴赫、巴赫的家人以及當時其他一些音樂家所作的大量小步舞曲，序曲、進行曲、詠歎調等等。
巴赫二十二歲時與其表妹瑪利亞結婚，共生下了七個孩子；瑪利亞去世後，巴赫同比她小１６歲的女歌唱家安娜 · 瑪格達蕾娜結婚，又生下十三個孩子，７位夭折。巴赫兩次婚姻共有２０位子女共， 但隻有九人長大成人，其中就有三個孩子繼承父業，成為很有影響的音樂家。他的次子（ C.P.E.Bach ）被稱為 “ 漢堡巴赫 ” ；第三個兒子 Johann Christian Bach 就是巴赫第二任妻子安娜 · 瑪格達蕾娜， J.C. Bach 長期居住於被稱為 " 倫敦巴赫 " 。他們在音樂史上都很有地位，對海頓、貝多芬等都有直接的影響。
安娜 · 瑪格達蕾娜（ Anna Magdalena Bach (née Wilcke or Wilcken) (22/09/1701 – 22/02/1760) ）出生於音樂家庭，父親是小號手，外公是管風琴演奏家，她本人是女高音。安娜是一位典型的賢妻良母，除了照料好一家人的衣食起居外，她還經常幫巴赫抄寫譜子，而且水準一流。巴赫出於對安娜的感激和愛意，先後在 1722 和 1725 年創作出兩卷曲集送給妻子。後來兩卷曲子被合並，並且去處了其中的聲樂演唱部分，成為了《為安娜 · 瑪格達雷納 . 巴赫而作的古鋼琴小曲集》。小曲集一共有 45 首，其中第 26 首《 G 大調小步舞曲》日後成為了《戈德堡變奏曲》的主題。
安娜 · 瑪格達蕾娜與巴赫誌趣相投，成為巴赫的得力助手。在萊比錫的日子，安娜 · 瑪格達蕾娜常在家中組織音樂會，讓孩子們演奏，與客人們一起高歌。 巴赫去世沒有留下任何遺囑，微薄的財產都不足以兒子們糾紛，男兒們各奔東西，女兒們留下與安娜 · 瑪格達蕾娜度日， 安娜 · 瑪格達蕾娜後來的生活很貧寒，靠慈善和救濟，人們都不明白她的兒女們為什麽都沒給他們的母親一點援助， 安娜 · 瑪格達蕾娜病逝在濟貧院，被當作窮人無名埋葬在 10 年前她丈夫巴赫埋葬的萊比錫 Johanniskirche 教堂 (St. John's Church) 墓地，也許那個時候巴赫不像現在有名，人們早已忘記安娜 · 瑪格達蕾娜曾是巴赫的愛妻
1894 年人們在修複該教堂時發現了巴赫的墓地， 但已無法辨認安娜的墓碑了，這一切都無法挽回，因為二戰時教堂被盟軍飛機炸彈轟炸炸毀。
上個世紀六十年代，力史學家又重新估量安娜 · 瑪格達蕾娜在巴赫生活和音樂中擔當的角色，發現安娜 · 瑪格達蕾娜所起的作用是無法估量的， 甚至有學者認為巴赫晚年的一些作品很可能都是出自他的愛妻安娜之手。
巴赫寫給安娜的詠歎調愛意深情， 歌中唱道：
《如果你和我在一起，
我將愉快地走下去
直到生命的最後
如果我生命最後時候能看到的是你那雙可愛的手
幫我合上我忠實的的雙眼
那將是多麽愉悅的安息啊》
多美的歌，多美的願望，最後的現實是 巴赫生命的最後一年，健康削弱視力急劇下降，都沒能看到安娜的雙手，據資料巴赫最後的死因有很多說法，大部分認為巴赫死於肺藏不成功的眼睛手術以及並發症肺炎， 更沒能讓巴赫想到的是他深愛的安娜在他死後是那麽貧困潦倒，甚至遭兒女們的遺棄，被無名埋葬， 以致在二戰後重新遷移巴赫的墓去巴赫服務２６年的教堂Ｓｔ Ｔｈｏｍａｓ時，都再也無法找到安娜， 這對音樂夫妻給世人留下的音樂財富是人類受益無限， 而他們自己卻承受痛苦，
他們死後無法在一起，唯一能讓他們在一起的隻有他們留給後人的音樂和歌聲了。
知道安娜 · 瑪格達蕾娜 巴赫的故事後，我再聽巴赫的音樂時我的感覺和從前會有不同，我會感激和懷念這位偉大的女性，沒有她，巴赫的音樂可能會很不一樣。 不知在富麗堂皇的音樂大廳裏巴赫的音樂響起時，演奏家歌唱家甚至台下的聽眾們， 你們有沒有想過，你們演奏和聆聽到的音樂原本，很可能就是巴赫身後的這位賢內助安娜 · 瑪格達蕾娜手輕字抄寫的？
我們感謝巴赫的時候，也不能忘記她的兩位愛妻給他的支持，特別是安娜 · 瑪格達蕾娜。
德文歌詞
Bist du bei mir, geh ich mit Freuden
zum Sterben und zu meiner Ruh.
Ach, wie vergnügt wär so mein Ende,
es drückten deine schönen Hände
mir die getreuen Augen zu!
英文翻譯 1 ：
If you are with me, then I will go gladly
unto [my] death and to my rest.
Ah, what a pleasant end for me,
if your dear hands be the last I see,
closing shut my faithful eyes to rest!
英文翻譯 2 ：
When thou art near, I go with joy
To death and to my rest.
O how pleasant would my end be,
If your fair hands
Would close my faithful eyes.
Notebook for Anna Magdalena BachIn the eighteenth century, copying music was a very important part of any musician’s life. That’s why in the years of 1722 and 1725 Johann Sebastian Bach gave his second wife, Anna Magdalena, two notebooks: the first one entitled “Clavier-Büchlein vor Anna Magdalena Bach in ANNO 1722”, or “Notebook for Anna Magdalena Bach, year 1722”; and the second one, the 1725 notebook, commonly referred to as the “Anna Magdalena Notebook”.
The 1722 notebook contains mainly pieces by J.S. Bach, such as fragments of the French Suites, an air with variations and a short organ piece. Unfortunately, only 25 unbound pages of this first notebook have reached us, what amounts to about a third of its estimated original size.
The better known 1725 notebook, more richly decorated and better bound than the first one, did reach this day in much better condition. Its fine binding work and gilt edging, strongly suggests it was a gift from J. S. Bach to his wife to celebrate a very special occasion: possibly, either her 24th birthday on September 22nd, 1725, or their wedding anniversary on December 3rd.
Anna Magdalena was very much musically inclined and was employed as a singer at the time of their marriage. In Bach's own words, she could sing "decent soprano".
Bach copied the first two pieces on the notebook, as part of the gift for his wife: the very first one is the partita BWV 827 in A minor, or AM, which are Anna Magdalena’s initials. The second piece is the partita in E minor, BWV 830.
The notebook also contains several dances, arias, chorales and other pieces of music by several composers, including Carl Phillip Emmanuel Bach, Christian Petzold, François Couperin, Georg Bohm and other musician friends of the Bach family. Most entries were copied by Anna Magdalena herself, but the presence of the handwritings of Johan Sebastian, Carl Phillip Emmanual and Johann Christian Bach indicates that maintaining the notebook was a family effort.
Most of the pieces are technically quite accessible, a fact which denotes an important didactical value to them. Quite possibly, these pieces were not only for musical enjoyment of the Bach family, but also for the musical education of its younger members. Bach probably knew that initiation to keyboard instrument playing would take something easier and simpler than his Inventions and Sinfonias, especially for children.
In addition to that, Anna Magdalena was known to have organized several musical gatherings at the Bach household, where visitors were encouraged to perform and also to compose new pieces for the Notebook, which were promptly copied to it.
It has recently been suggested by researchers that Anna Magdalena may have composed some pieces which bore her husband’s name, namely the six cello suites, BWV 1007-1012, and the aria from the Goldberg Variations, BWV 988, which was entered into the 1725 notebook. This claim is not universally accepted by all scholars, though.
Johann Sebastian and Anna Magdalena had a happy marriage to which their common interest in music certainly contributed. Unfortunately, after Bach’s death in 1850, their sons parted different ways due to disagreements, and Anna Magdalena became increasingly dependent on charity and government handouts. She died in 1860 and was buried in a pauper’s grave.
The complete listing of the pieces which have reached us in the 1722 and in the 1725 notebook are below:
1722 notebook:
1. Five keyboard suites. The first three are fragments of the pieces that are now known as the first three French Suites, BWV 812–814. The next two are complete suites, French Suites Nos. 4 and 5, BWV 815–816. The minuets of suites 2 and 3 are separated from the rest of their respective suites and were most probably added at a later date by Anna Magdalena Bach (they are almost certainly in her hand), some time before 1725.
2. Fantasia pro organo, unfinished, BWV 573. A short organ piece, 12 complete bars and the beginning notes of the 13th bar.
3. Air with variations in C minor, unfinished, BWV 991. The first 10 bars feature coherent two-part writing, but the remaining 35 bars only have one voice written out.
4. “Jesus, meine Zuversicht”, chorale prelude, BWV 728. A brief (9 bars) piece in three voices, features two sections with repeats for each.
5. “Minuet in G major”, BWV 841 (not to be confused with Petzold's Minuet in G Major in the 1725 notebook). A short dance with simplistic two-part writing and two sections with repeats for each.
1725 notebook:
1. Keyboard partita in A minor, BWV 827. This is the third partita from Bach's set of Partitas for keyboard BWV 825–830, which was published in 1731 as the first volume of Clavier-Übung.
2. Keyboard partita in E minor, BWV 830. This is the sixth partita from Bach's set of Partitas for keyboard BWV 825–830.
3. Minuet in F major, BWV Anh. 113.
4. Minuet in G major, BWV Anh. 114. Usually attributed to Christian Petzold.
5. Minuet in G minor, BWV Anh. 115. Usually attributed to Christian Petzold.
6. Rondeau in B-flat major, BWV Anh. 183. This piece is by François Couperin and is best known under the original title: Les Bergeries.
7. Minuet in G major, BWV Anh. 116.
8a. Polonaise in F major, BWV Anh. 117a.
8b. Polonaise in F major, BWV Anh. 117b.
9. Minuet in B-flat major, BWV Anh. 118.
10. Polonaise in G minor, BWV Anh. 119.
11. Chorale prelude “Wer nur den lieben Gott läßt walten”, BWV 691.
12. Chorale setting “Gib dich zufrieden und sei stille” in F major, BWV 510.
13a. Chorale setting “Gib dich zufrieden und sei stille” in G minor, BWV 511.
13b. Chorale setting “Gib dich zufrieden und sei stille” in E minor, BWV 512.
14. Minuet in A minor, BWV Anh. 120.
15. Minuet in C minor, BWV Anh. 121.
16. March in D major, BWV Anh. 122. Usually attributed to Carl Philipp Emanuel Bach.
17. Polonaise in G minor, BWV Anh. 123. Usually attributed to Carl Philipp Emanuel Bach.
18. March in G major, BWV Anh. 124. Usually attributed to Carl Philipp Emanuel Bach.
19. Polonaise in G minor, BWV Anh. 125. Usually attributed to Carl Philipp Emanuel Bach.
20a. Aria “So oft ich meine Tobackspfeife” in D minor, BWV 515.
20b. Aria “So oft ich meine Tobackspfeife” in G minor, BWV 515a.
21. Menuet fait par Mons. Böhm, by Georg Böhm. Not included in the BWV catalogue.
22. Musette in D major, BWV Anh. 126.
23. March in E-flat major, BWV Anh. 127.
24. (Polonaise) in D minor, BWV Anh. 128.
25. Aria “Bist du bei mir”, BWV 508. This composition is probably the most well-known of the arias of the 1725 notebook. Its melody is by Gottfried Heinrich Stölzel.[4]
26. Keyboard aria in G major, BWV 988/1. Another well-known piece, this is the aria of the Goldberg Variations, BWV 988. Christoph Wolff has suggested that this Aria was entered into the two blank pages of this book by Anna Magdalena later, in 1740.
27. Solo per il cembalo in E-flat major, BWV Anh. 129. A harpsichord piece by Carl Phillip Emanuel Bach.
28. Polonaise in G major, BWV Anh. 130. Possibly composed by Johann Adolph Hasse.
29. Prelude in C major, BWV 846/1. This is the first prelude from the Well-Tempered Clavier Book 1, with bars 16–20 omitted, most likely in order to make the piece fit in two pages.
30. Keyboard suite in D minor, BWV 812. This is the first French Suite.
31. Keyboard suite in C minor, BWV 813. This is an incomplete version of the second French Suite.
32. Movement in F major, BWV Anh. 131. The handwriting looks like that of a child, and apparently the piece is an attempt to create a bass line for a given melody.
33. Aria “Warum betrübst du dich”, BWV 516.
34. Recitative “Ich habe genug” and aria “Schlummert ein, ihr matten Augen” (solo), BWV 82/2,3.
35. Chorale setting “Schaff's mit mir, Gott”, BWV 514.
36. Minuet in D minor, BWV Anh. 132.
37. Aria “Wilst du dein Herz mir schenken” (subtitled Aria di Giovannini), BWV 518.
38. Aria “Schlummert ein, ihr matten Augen”, unfinished, BWV 82/3.
39a. Chorale setting “Dir, dir Jehova, will ich singen” (version for choir), BWV 299.
39b. Chorale setting “Dir, dir Jehova, will ich singen” (solo), BWV 299.
40. Song “Wie wohl ist mir, o Freund der Seelen”, BWV 517.
41. Aria “Gedenke doch, mein Geist, zurücke”, BWV 509.
42. Chorale “O Ewigkeit, du Donnerwort”, BWV 513.
References:
1. Wikipedia. Anna Magdalena Bach. November 7, 2009. http://en.wikipedia.org/wiki/Anna_Magdalena_Bach
2. Wikipedia. Notebook for Anna Magdalea Bach. November 7, 2009. http://en.wikipedia.org/wiki/Notebook_for_anna_magdalena_bach
3. Palmer, Willard A. (Editor). J. S. Bach - Selections from Anna Magdalena's Notebook. Second Edition, 1992 - Alfred Publishing Co., Inc. p. 1
4. Heinemann, Ernst-Günter (Editor). J. S. Bach. Notenbüchlein für Anna Magdalena Bach. Urtext Edition. G. Henle Verlag. G Henle USA Inc., St. Louis, MO, pages V-VI
5. Johann Sebastian Bach. Notebook for Anna Magdalena Bach. Kalmus Edition. Van Nuys, California, Alfred Publishing |Co., Inc., pages 3-7
6. Rossi, Nino (Editor). BACH - 14 peças fáceis do livro de "Ana Magdalena Bach". São Paulo, Ricordi Brasileira S.A. - Editores. p. 2
--article written by Marcelo da Silva http://www.pianosociety.com/cms/index.php?section=2645
[有關網上資料] 巴赫為第二任妻子創作的鍵盤作品
“ 戈德堡 ” 這個名字源自巴赫的一位學生，其全名為 Johann Theophil Goldberg 。當初他是俄國一位外交使臣凱塞林克伯爵手下的年輕演奏家，巴赫與這位俄國人也素有深厚。作曲家著名的《 b 小調彌撒》就是提獻給凱塞林克伯爵的，為此他還獲得封賞。 1741-1742 年時，這個俄國人身居萊比錫期間便讓手下的戈德堡去向巴赫學習鍵盤演奏技巧。當時凱塞林克伯爵被許多疾病所困擾，晚上經常失眠，他便讓戈德堡每天深夜在自己臥室隔壁的屋子裏演奏一些輕柔的音樂，以此為消遣來度過漫漫長夜。在一次與巴赫的交談中，伯爵希望作曲家能夠為他創作一些格調柔和卻又略帶歡快氣息的鍵盤音樂，讓自己在痛苦的失眠之夜能因為欣賞到這樣的曲子而變得愉快。巴赫相信，凱塞林克伯爵的這個願望能夠通過自己所創作的變奏曲來實現。作曲家便使用自己早先創作的一套小曲集中的薩拉班德德舞曲作為主題，並根據這一主題寫了三十個變奏。有意思的是，這套小曲集原本是巴赫題獻給自己賢內助 Anna Magdalena （安娜 · 瑪格達雷納）的作品。安娜是巴赫的第二任妻子，是一位典型的賢妻良母，除了照料好一家人的衣食起居外，她還經常幫巴赫抄寫譜子，而且水準一流。巴赫出於對安娜的感激和愛意，先後在 1722 和 1725 年創作出兩卷曲集送給妻子。後來兩卷曲子被合並，並且去處了其中的聲樂演唱部分，成為了《為安娜 · 瑪格達雷納 . 巴赫而作的古鋼琴小曲集》。小曲集一共有 45 首，其中第 26 首《 G 大調小步舞曲》日後成為了《戈德堡變奏曲》的主題。與前後兩卷的《平均律》相比，《戈德堡》的篇幅要小得多，但作為一首變奏曲而言，其規模卻是史無前例的，因此它被譽為 “ 音樂史上規模最大，結構最恢宏，也是最偉大的變奏曲 ” 。變奏曲由一個主題及其 30 個變奏組成，在 30 個變奏之後，主題再現，圓滿地完成一個循環。《戈德堡變奏曲》這個曲名並不是巴赫起的，而是傳記作者弗克爾在巴赫死後起的。巴赫自己稱它為 “ 包括一首詠歎調及其變奏的鍵盤練習曲，為有兩個鍵盤的羽管鍵琴而作 ” （現在一般都用鋼琴演奏）。《戈德堡變奏曲》的獨特之處在於，其變奏的基礎不是主題的旋律，而是主題的低音線，其間的變奏包括了巴洛克時期幾乎所有的音樂風格樣式：卡農、賦格、舞曲、詠歎調、沉思曲、序曲等等。由這樣一個狹窄的基礎，巴赫構築了一座精致而又宏偉的大廈。
