前奏曲 ハ短調 BWV 999

サムネイル|D-B Mus.ms. Bach P 804, Fascicle 19の表紙, Johann Peter Kellnerによるハ短調前奏曲のルーテ用筆写譜 前奏曲 ハ短調 BWV 999は、現存する唯一の18世紀の写本によると、ヨハン・セバスティアン・バッハ（英：Johann Sebastian Bach）によるリュートのための曲である。この写本は、ベルリン州立図書館でFascicle 19 of Mus.ms. Bach P 804として保存されており、ヨハン・ペーター・ケルナー（英：Johann Peter Kellner）が鍵盤譜でこの曲を書き留めた。作曲された時期は不明であるが、バッハはおそらくケーテン時代（英：his Köthen period）（1717年から1723年の間）、あるいはその後のライプツィヒ時代の初期に作曲した可能性がある。ケルナーの写本は1727年以降、バッハの死（1750年）以前に作られたものである。

本前奏曲は、鍵盤楽器だけでなくリュートによっても演奏可能である。19世紀には鍵盤楽器のための小前奏曲集「12の小前奏曲」の第3番として収録された。20世紀の学術研究においては、1931年の「バッハ年報」をはじめ、「バッハ作品目録」や「新バッハ全集」においてバッハのリュート作品として分類されている。現代ではリュートやギター、またピアノやチェンバロといった鍵盤楽器による録音が数多く存在する。21世紀に入り、バッハ・デジタルなどのウェブサイトでケルナーによる写本がデジタル公開され、オンラインにおいて閲覧が可能となった。

歴史

According to the Bach Digital website, the time of origin of Johann Sebastian Bach's Prelude in C minor, BWV 999, is unknown. Based on , the 1998 edition of the Bach-Werke-Verzeichnis indicates that the piece likely originated in Bach's Köthen period, that is, between 1717 and 1723. Christoph Wolff and Walter Emery estimated that the composition may have originated from Bach's Köthen period to the early years of his Leipzig period, which began in 1723, based on similarities with the Preludes and Fugues in The Well-Tempered Clavier.

According to Kohlhase, Johann Peter Kellner's copy of the Prelude dates from around the middle of the 1720s. A more comprehensive research into the time of origin of all 57 fascicles of the Berlin State Library's Mus.ms. Bach P 804 convolute, by Russell Stinson, showed that its 19th fascicle, Kellner's copy of the BWV 999 Prelude, originated after 1727. All fascicles of the P 804 manuscript were written before Bach's death in 1750. Kellner's manuscript is the only source for the composition.The title page of Kellner's copy of BWV 999, page 101 in the D-B Mus.ms. Bach P 804 convolute, reads:

The composition is written on the next two pages, on systems of two staffs, with a soprano clef for the upper staff, and a bass clef for the lower staff. Although, in the first half of the 18th century, a tablature notation was common for lute compositions, Kellner thus wrote the Prelude down in a notation which at the time was customary for keyboard compositions. The Prelude can be performed as well on a keyboard instrument as on a lute. Kellner is known as an organist and keyboard performer: his copy of BWV 999 is the only extant instance of him taking an interest in a composition for lute. A concluding section, which could follow after the Prelude as written down by Kellner, seems to be missing. The Prelude opens in C minor but instead of returning to that key (i.e., the tonic), it ends on the dominant, in fact the parallel key of the dominant, G major, while the closing chord contains a Picardy third. compares this to the Prelude BWV 872a/1: after a section with arpeggios ending on the dominant, it continues with a fugato returning to the tonic. Also, the last bar of the piece only has the duration of a quarter note: it is uncommon for a piece in to end on a bar with a different duration than three quarter notes. Whether Bach never composed such continuation of the piece, or whether Kellner didn't copy it, is not known.

音楽 BWV 999's brief, introductory nature (43 measures), improvisatory feel and reiteration of a defining motif fits squarely within the prelude genre of the 1710s and 1720s. Additionally, the shortness of the motif itself follows the conventions of early sixteenth-century prelude. It also served a teaching purpose characteristic of the genre, widely using arpeggiations and technical demands that served students well as an étude. Barbara Russano Hanning describes prelude features and goals: "The typical prelude assigns the player a specific task, so that the piece functions as an etude. In addition, the preludes illustrate different types of keyboard performance conventions and compositional practices." Such pedagogical traits contribute to the work's longevity; it is still an oft-used educational tool.[citation needed]

動機

サムネイル|BWV 999の1～7小節の楽譜 The Prelude's central motif consists of intersecting rhythms between the upper and lower voice (what originally would have been the left and right hand). In the right hand, this is a sixteenth rest, followed by a seven-note sixteenth passage that typically arpeggiates an inversion of a triad (ascending and descending from and back to the root), and an alternating sixteenth rest–sixteenth note pattern in the third beat. The left participates by having a pedal tone quarter in the first beat, a rest, then two eighth notes. The ascending and descending triad in Bach's prelude BWV 999 seem to have been the true inspiration and chord structure for the arpeggios in the Beatles song Because, because when the prelude is played at half-speed and on harpsichord, the similarity is striking, especially at measures 8–9–11, about 15 seconds into the prelude, with the repeating notes at the end of the interval being eliminated in the Beatles version.

ハーモニー

サムネイル|8～14小節（11～14小節での転調が強調されている）。 Contrary to its title and key signature, less than a third of BWV 999 is actually written in C minor. In measure 11, a Secondary leading-tone chord is employed (namely, a diminished F seventh chord) to modulate and lead the ear to G minor, the dominant of the original key. Aside from a turn to G major but with a flattened 6th (mm. 34–38 and 42–43), and the reemergence of C minor (mm. 39–41), G minor tonality dominates the piece. Early on, the upper voice is repeated over several measures, with the left hand providing the only shifting harmonic background. For example, measures 8–10 are exactly the same in the right hand, but descending tones in the left hand create an expansion of tonic harmony.

披露 In 1843, Friedrich Konrad Griepenkerl edited the Prelude as No. 3 of the "XII petits Préludes ou Exercises pour les Commençants" (), which was included in the 9th volume of Bach's complete keyboard works published by C. F. Peters. The next year, the publisher issued the Twelve Little Preludes set separately. Philipp Spitta described BWV 999 thus:

Spitta, assuming that nearly none of Bach's compositions for lute survived, mentioned the third of the Twelve Little Preludes as composed for lute or keyboard. The Bach Gesellschaft retained the Twelve Little Preludes set for keyboard in the 36th volume, published in 1890, of their complete edition of Bach's works., writing in the Bach-Jahrbuch of 1931, had no doubt that Bach composed the Prelude for lute:

Neemann identified five more compositions by Bach as intended for lute. In the Bach-Werke-Verzeichnis, first published in 1950, these compositions were grouped in the BWV 995–1000 range, in a section for lute works. The same six compositions were published in Series V, Vol. 10, of the New Bach Edition, in 1976.

The Prelude has been adapted for various instruments, including lute, piano and guitar. It is a pedagogical work much in the spirit of The Well-Tempered Clavier, with which it shares musical characteristics.[citation needed] In the second decade of the 21st century, digital facsimiles of Kellner's manuscript became available on the Berlin State Library and Bach Digital websites.

録音 Some guitarists perform the Prelude BWV 999 in D minor instead of in its original key of C minor (but they can however use D Standard Tuning so that when they play in D Minor, it sounds as the Original C Minor).J.-S. Bach: Prélude en ré mineur; Alexandre Lagoya at Bibliothèque nationale de France website (). +Recordings of Prelude BWV 999RecordedInstrumentPerformed byTime1928–1930guitar1:2325–26 September 1936harpsichord0:57.1942–1950piano0:59≤1954guitar1:161954guitar1:141956lute1:421965guitar1:341965guitar1:281964–1971guitar1:37.1965–1973harpsichord1:561970lute1:381973guitar (ten-string)2:061974–1975guitar1:331980lute2:04.1981lute1:501981guitar1:191983lute2:051984guitar1:561984harpsichord1:471984guitar1:511985baroque lute1:471986lute1:50October 1986harpsichord1:351986–1987organ1:23October 1987guitar1:35.September 1987theorbo1:59June 1988piano1:2223–25 July 1988guitar (eight-string)1:591988–1989lute1:391989guitar1:28December 1989baroque lute 今村泰典1:44≤1990guitar1:571990guitar1:301990harp2:00June 1990guitar1:4919–21 June 1990piano1:0921–22 June 1991piano1:111992lute1:581992マリンバ1:0118 February 1994guitar1:33≤1995piano1:181995harpsichord1:2528–30 August 1995piano1:261996piano1:321992–2000guitar1:36April–May 1996lute1:211997harpsichord1:461997harpsichord1:42June–September 1997guitar1:321998lute-harpsichord1:40August–September 1998piano1:10≤1999lute1:34.1999baroque lute1:401999harpsichord2:031999–2000guitar1:531999–2000guitar1:37July 1999piano1:13November 1999harpsichord1:34December 1999piano1:132000lute1:272000guitar (ten-string)1:542000harpsichord1:392002guitar2:102003guitar1:242003harp2:272003marimba1:292004theorbo1:412005guitar1:24≤2007guitar1:13August 2007lute-harpsichord1:312008clavichord1:31March 2008piano1:24≤15 November 2008theorbo2:041999–2017guitar1:432009–2010guitar1:432010harpsichord1:54February 2010baroque lute1:232010–2012guitar1:252011guitarguitar (ten-string)Mari Mäntylä1:32January–April 2012baroque lute1:382013lute-harpsichord1:302013fortepiano1:192015harpsichord1:24January 2015piano1:0213–17 July 2015baroque lute1:552017clavichord1:212017marimba1:332020baroque lute1:40

参考文献

出典

  Preface in English and German.

Vol. I, Vol. II, Vol. III

関連項目

Vol. 2: BWV 998/999/1000

外部リンク

Prelude in C minor BWV999 – recordings at Primephonic website. Bach Digital – バッハ・デジタル