Anna Magdalena Bach's Notebook 
这首歌出自《 Notebook for Anna Magdalena Bach 安娜 · 玛格达蕾娜 · 巴赫的笔记簿》
巴赫为第二任妻子安娜 · 玛格达蕾娜创作了两套音乐手稿，称为《安娜 · 玛格达蕾娜 · 巴赫的笔记簿》（ Notebook for Anna Magdalena Bach ），分别编定于 1722 年和 1725 年。其中后者规模更大也更为著名，内容包括巴赫、巴赫的家人以及当时其他一些音乐家所作的大量小步舞曲，序曲、进行曲、咏叹调等等。
巴赫二十二岁时与其表妹玛利亚结婚，共生下了七个孩子；玛利亚去世后，巴赫同比她小１６岁的女歌唱家安娜 · 玛格达蕾娜结婚，又生下十三个孩子，７位夭折。巴赫两次婚姻共有２０位子女共， 但只有九人长大成人，其中就有三个孩子继承父业，成为很有影响的音乐家。他的次子（ C.P.E.Bach ）被称为 “ 汉堡巴赫 ” ；第三个儿子 Johann Christian Bach 就是巴赫第二任妻子安娜 · 玛格达蕾娜， J.C. Bach 长期居住于被称为 " 伦敦巴赫 " 。他们在音乐史上都很有地位，对海顿、贝多芬等都有直接的影响。
安娜 · 玛格达蕾娜（ Anna Magdalena Bach (née Wilcke or Wilcken) (22/09/1701 – 22/02/1760) ）出生于音乐家庭，父亲是小号手，外公是管风琴演奏家，她本人是女高音。安娜是一位典型的贤妻良母，除了照料好一家人的衣食起居外，她还经常帮巴赫抄写谱子，而且水准一流。巴赫出于对安娜的感激和爱意，先后在 1722 和 1725 年创作出两卷曲集送给妻子。后来两卷曲子被合并，并且去处了其中的声乐演唱部分，成为了《为安娜 · 玛格达雷纳 . 巴赫而作的古钢琴小曲集》。小曲集一共有 45 首，其中第 26 首《 G 大调小步舞曲》日后成为了《戈德堡变奏曲》的主题。
安娜 · 玛格达蕾娜与巴赫志趣相投，成为巴赫的得力助手。在莱比锡的日子，安娜 · 玛格达蕾娜常在家中组织音乐会，让孩子们演奏，与客人们一起高歌。 巴赫去世没有留下任何遗嘱，微薄的财产都不足以儿子们纠纷，男儿们各奔东西，女儿们留下与安娜 · 玛格达蕾娜度日， 安娜 · 玛格达蕾娜后来的生活很贫寒，靠慈善和救济，人们都不明白她的儿女们为什么都没给他们的母亲一点援助， 安娜 · 玛格达蕾娜病逝在济贫院，被当作穷人无名埋葬在 10 年前她丈夫巴赫埋葬的莱比锡 Johanniskirche 教堂 (St. John's Church) 墓地，也许那个时候巴赫不像现在有名，人们早已忘记安娜 · 玛格达蕾娜曾是巴赫的爱妻
1894 年人们在修复该教堂时发现了巴赫的墓地， 但已无法辨认安娜的墓碑了，这一切都无法挽回，因为二战时教堂被盟军飞机炸弹轰炸炸毁。
上个世纪六十年代，力史学家又重新估量安娜 · 玛格达蕾娜在巴赫生活和音乐中担当的角色，发现安娜 · 玛格达蕾娜所起的作用是无法估量的， 甚至有学者认为巴赫晚年的一些作品很可能都是出自他的爱妻安娜之手。
巴赫写给安娜的咏叹调爱意深情， 歌中唱道：
《如果你和我在一起，
我将愉快地走下去
直到生命的最后
如果我生命最后时候能看到的是你那双可爱的手
帮我合上我忠实的的双眼
那将是多么愉悦的安息啊》
多美的歌，多美的愿望，最后的现实是 巴赫生命的最后一年，健康削弱视力急剧下降，都没能看到安娜的双手，据资料巴赫最后的死因有很多说法，大部分认为巴赫死于肺藏不成功的眼睛手术以及并发症肺炎， 更没能让巴赫想到的是他深爱的安娜在他死后是那么贫困潦倒，甚至遭儿女们的遗弃，被无名埋葬， 以致在二战后重新迁移巴赫的墓去巴赫服务２６年的教堂Ｓｔ Ｔｈｏｍａｓ时，都再也无法找到安娜， 这对音乐夫妻给世人留下的音乐财富是人类受益无限， 而他们自己却承受痛苦，
他们死后无法在一起，唯一能让他们在一起的只有他们留给后人的音乐和歌声了。
知道安娜 · 玛格达蕾娜 巴赫的故事后，我再听巴赫的音乐时我的感觉和从前会有不同，我会感激和怀念这位伟大的女性，没有她，巴赫的音乐可能会很不一样。 不知在富丽堂皇的音乐大厅里巴赫的音乐响起时，演奏家歌唱家甚至台下的听众们， 你们有没有想过，你们演奏和聆听到的音乐原本，很可能就是巴赫身后的这位贤内助安娜 · 玛格达蕾娜手轻字抄写的？
我们感谢巴赫的时候，也不能忘记她的两位爱妻给他的支持，特别是安娜 · 玛格达蕾娜。
德文歌词
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!
英文翻译 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!
英文翻译 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
[有关网上资料] 巴赫为第二任妻子创作的键盘作品
“ 戈德堡 ” 这个名字源自巴赫的一位学生，其全名为 Johann Theophil Goldberg 。当初他是俄国一位外交使臣凯塞林克伯爵手下的年轻演奏家，巴赫与这位俄国人也素有深厚。作曲家著名的《 b 小调弥撒》就是提献给凯塞林克伯爵的，为此他还获得封赏。 1741-1742 年时，这个俄国人身居莱比锡期间便让手下的戈德堡去向巴赫学习键盘演奏技巧。当时凯塞林克伯爵被许多疾病所困扰，晚上经常失眠，他便让戈德堡每天深夜在自己卧室隔壁的屋子里演奏一些轻柔的音乐，以此为消遣来度过漫漫长夜。在一次与巴赫的交谈中，伯爵希望作曲家能够为他创作一些格调柔和却又略带欢快气息的键盘音乐，让自己在痛苦的失眠之夜能因为欣赏到这样的曲子而变得愉快。巴赫相信，凯塞林克伯爵的这个愿望能够通过自己所创作的变奏曲来实现。作曲家便使用自己早先创作的一套小曲集中的萨拉班德德舞曲作为主题，并根据这一主题写了三十个变奏。有意思的是，这套小曲集原本是巴赫题献给自己贤内助 Anna Magdalena （安娜 · 玛格达雷纳）的作品。安娜是巴赫的第二任妻子，是一位典型的贤妻良母，除了照料好一家人的衣食起居外，她还经常帮巴赫抄写谱子，而且水准一流。巴赫出于对安娜的感激和爱意，先后在 1722 和 1725 年创作出两卷曲集送给妻子。后来两卷曲子被合并，并且去处了其中的声乐演唱部分，成为了《为安娜 · 玛格达雷纳 . 巴赫而作的古钢琴小曲集》。小曲集一共有 45 首，其中第 26 首《 G 大调小步舞曲》日后成为了《戈德堡变奏曲》的主题。与前后两卷的《平均律》相比，《戈德堡》的篇幅要小得多，但作为一首变奏曲而言，其规模却是史无前例的，因此它被誉为 “ 音乐史上规模最大，结构最恢宏，也是最伟大的变奏曲 ” 。变奏曲由一个主题及其 30 个变奏组成，在 30 个变奏之后，主题再现，圆满地完成一个循环。《戈德堡变奏曲》这个曲名并不是巴赫起的，而是传记作者弗克尔在巴赫死后起的。巴赫自己称它为 “ 包括一首咏叹调及其变奏的键盘练习曲，为有两个键盘的羽管键琴而作 ” （现在一般都用钢琴演奏）。《戈德堡变奏曲》的独特之处在于，其变奏的基础不是主题的旋律，而是主题的低音线，其间的变奏包括了巴洛克时期几乎所有的音乐风格样式：卡农、赋格、舞曲、咏叹调、沉思曲、序曲等等。由这样一个狭窄的基础，巴赫构筑了一座精致而又宏伟的大厦。
