CUA HOeLarUahg im BMRA Poy V2 HEAR FEBBOR- BBS HH J.S.BAGH (© 1999 by ZEN-ON MUSIC CO., LTD. SeaWUwBIC ARMICMLND S Hs IS. 19 7» (16854 ~ 175048) OES Id, RORIETS ( OBI EA At L LITO MRO FF PBA DNYOLADNTHET. OU TSR THOT CM TOETOT BH SHhMBL TELE BET. T.NINOYTAAYY, $20, ELT aWb REORDOPEIS HMDA DART, Zh, wat DONEC LOBRSENEVAT LEA, OHMS L OMLDVADHI A, NOy 7 PROBE, FB TAY VIVO CRBENS DENS BoTORE Fo Van ROTA RTE 6 EROS RE EF RLTVBAAI Lo TRB MB SNH YET BW, BCT Hts COMER BEES NEO RHILA TOT Y III ZW (Hy hRERD, Yar hORFCMEF x70) ORO Bene Sdn aE, RMOWRIHH TR, SKRH BACBSRENTEOET. ERBOIERY a— hCHDRSS ENORMEBE BOOTH Y BEAM, FI - THK ME, BLOF FI VOBHR ER, MET SREVSE LBV ED. PUY PURE CHBENSCLIBL RCE SRORDO RM, SRIEABE ES (ko TH BEV bY CHBCERAIETOHN ETA. ERYTAAY 7, Fr IOP ROMM MA THY E FOL DNS, Fx CARMI TPE ) 2 — FL BI ITAA YY AUF RE a BA AM LTB SEA, HI-ANOBLERO KIGHRIOTHET. NEE OEE HES ED, HORII OHIO SAREERT SOE GEA WE LC Smee ett WE LBs FIC NOME ERRT SS EDM T DMIs TORE, AEARAME L CROCE eOVET. 19994811 PRB ARIE Parma PREFACE, ‘The works of Bach (1685~1750) assembled in this present edition are those thought to have been written when he was with the Céthen Ducal Court. There already exists a great ‘wealth of literature devoted to the study of the life and works of Bach, and knowledge of these form a necessary background, in my opinion, to a study of his compositions. In the 18th and 19th centuries, the violin, cello, and lute works of Bach were neglected, but along with the revival of interest in Renaissance and Baroque music of this century, came also a revived interest in his music, which has come to be performed in an entirely original fashion. ‘There are numerous ‘musicians and scholars who give their attention to the proper historically accurate method of lute music performance, but as regards the fugues, and other works involving counterpoint and the pieces Bach wrote for the instrument he himself invented - the lute harpsichord (a harpsichord using gut strings like a lute) - there still remain a great many unclarified points sto how the music should actually be performed. It is not my intention to take issue with any points dealing with performance on the lute, but when the pieces are done on the guitar, a certain reduction and shortening of octave reaches, and the addition of certain notes are unavoidable, in ‘my opinion. It goes without saying that these pieces which are very seldom played on the instruments for which they ‘were originally intended, are a very valuable addition to the repertory of the guitar, the instrument most resembling the lute. I have taken the liberty of arranging pieces originally ‘composed for cello and violin, just as Bach himself edited for lute the Cello Suite No.5, which became the No.3 and the Violin Partita No.3, which became the No.4. have made an overall revision of this edition, which was first Published a quarter-century ago, mainly to reduce the technical difficulties in playing. Now that the Bach's works are commonly played with the guitar, it is my hope that this revision will be of use as a practical edition. November, 1999 Yasuo Abe Yasushi AbeCONTENTS Partita [for Unaccompanied Violin BWV 1002 BNI TAB Y VF 17 BLA FUGA CHACONNE — PRELUDE ‘SARABANDE, Double PINTER 5 Partita I for Unaccompanied Violin BWV 1002 RMSE APY FA 9 BDS BOURREE, Double To. Bou 8 Sonata I for Unaccompanied Violin BWV 1001 REBT ABD IF2 B B 7-H. 14 Partita Ifor Unaccompanied Violin BWV 104 SARITA RIY UT I—T RDP vray PRELUDE FOR LUTE swv 999 Ya-hOROOTVa—k —————32 PRELUDE, FUGA, & ALLEGRO Bwv 88 TVi)a-k, 7-H, TL ———34 SUITE I FOR LUTE Bwv9s6 Ya hie 1a 44 SUITE It FOR LUTE swv997 Ya— hala 98 2a ————_————s2 SUITE Il FOR LUTE wv 995 —————— Ja— Nii 3a SUITE IV FOR LUTE BWV 1006 Ya Na 4 78 Suite I for Unaccompanied Violoncello BWV 1007 WRF = ALD Tak 92 SUITE Il FOR UNACCOMPANIED VIOLONCELLO swv 1009 — s&fF#F 3.128038 3% Suite VI for Unaccompanied Violoncello BWV 1012 SESE OMG HO WHR LAL 109 GAVOTTE 1,