【档案】巴赫的《安娜笔记本》

J.S.巴赫的《安娜笔记本》 

田艺苗 

我记得小时候学弹巴赫的《创意曲》，完全摸不着门道，找不到旋律和分句，一曲弹到头已相当惊险。后来爸爸领我到一位老太太家中学钢琴，她命我从头重弹《创意曲集》。每次回琴，心惊胆颤，一边唱谱一边在心里祷告，可千万别熄火啊，一熄火我可就开动不起来了。巴赫的复调曲左右手细密衔接，背谱难度极高，在小孩子听来简直就像开火车，咔嚓咔嚓，哐铛哐铛，我想不通这玩意儿有什么好听。几节课下来，老太太伴着我哼哼唱唱，我开始找到一点巴洛克的喜感。

这些《创意曲》，都是巴赫写给他的孩子们的键盘练习曲。在巴赫35岁的时候，他的前妻去世，给他留下7个孩子。第二年他娶了年轻的安娜。孩子一年一年陆续添加，后来巴赫一共生了20个孩子（有9个长大成人），在当时足够组成一支巴赫管弦乐团了。可以想像，巴赫家就像一个小型幼儿园。超级奶爸困在孩子堆里，一只手托在桌边写曲，一只手抱着膝头的小婴儿；一边灌奶瓶换尿布，一边构思弥撒曲。怪不得巴赫的音乐总是热热闹闹的，原来他的精密宏伟的篇章是在孩子的哭闹声中写出来的。

巴赫家的小孩全都学弹琴，下课了一起排合唱，家里天天欢乐多。巴赫的创意曲主要练习孩子们独立的手指头。每个手指都要听从脑袋与耳朵的号召，有时候小拇指唱歌，而大拇指要大声痛哭；有时候食指和中指开火车，别的手指稍息。一只手有好多使命。巴赫不仅作曲养活了所有孩子，还教会了安娜和孩子们弹管风琴。这些孩子中，有后来大名鼎鼎的“汉堡巴赫”卡尔·菲利普·埃曼努艾尔（C.P.E.Bach）和“伦敦巴赫”约翰·克里斯蒂安·巴赫（J.C.Bach），他们成为古典乐派的开路先锋，艺术风格直接影响了日后的大师海顿与莫扎特。他们在世时可比老爸风光多了。

古典乐迷们会发现，《创意曲》这个标题只有巴赫用过。“创意曲”（Invention），顾名思义是指写法比较有创意的、自由的乐曲。其实巴赫的创意曲跟赋格曲类似，有鲜明的主题，有主题在不同声部与调性的再现，主题的调性布局也类似赋格曲。几乎可以将这些乐曲看作大师的作曲练习。巴赫总是从细节做起，无论小创意曲还是结构庞杂的大赋格曲，都很精炼、准确，每个音都为张力组织，都是伟大机器中的钻石螺丝钉，没有一个音多余。这些教学音乐，如今都被排上了音乐会曲目，像古尔德、莱翁哈特等著名演奏家都录制过创意曲专辑。相比之下，我们常用的车尔尼练习曲却不能搬上舞台，个中差异，主要在于巴赫的练习曲在织体中植入隐伏旋律，层次丰富，耐人寻味，不像车尔尼的练习曲只是练手曲。

安娜温柔美丽，她比巴赫小15岁，是一位宫廷小号手的女儿，曾是一位颇有前途的歌手。据说她很小就见过巴赫。安娜嫁给巴赫之后就退出了歌坛，安心在家操持家务，十几个孩子和巴赫的学生们已足够她操心了。此时科滕的领主利奥波德结婚了，巴赫觉得新娘“蔑视他的艺术”，在此已得不到重用，前妻的去世也让他想离开伤心地。于是他应聘去了莱比锡圣托马斯教堂担任教会乐长，他急需那里付给他一年100塔勒的薪水养活孩子，况且莱比锡有欧洲著名的大学，方便孩子们以后受教育。他带着安娜和孩子们、还有他那点可怜的家当，全家浩浩荡荡地来到当时冷清的外省小城莱比锡。为了给年轻的安娜解闷，巴赫教她弹管风琴，给她写轻快俏丽的小键盘曲集。他曾赠予安娜两个音乐笔记本，里面都是为她而作的音乐。一个作于1722年，他们结婚之后的第一年。一只破旧褪色的浅绿色笔记本，内页边角装饰着棕色皮革，看得出曾经精美华贵，如今只遗留下三分之一的谱页，都是片段的小乐思，有后来的法国组曲、哥德堡变奏曲的主题、巴赫清唱剧中的咏叹调和练习小曲。1725年，在安娜生日的时候，巴赫再次送了她一个音乐笔记本。这本有39首曲子，有巴赫的曲子，还有巴赫家族其他作曲家的曲子。我们后来说的《安娜笔记本》，主要是指后一本，后来还给编了号（BWV Anh.），里面最著名的就是人见人爱的《G大调小步舞曲》。

闲时，安娜坐在八角窗边的古钢琴边上练习，孩子们围坐在地上聆听玩乐。她穿束腰裙，弹琴时摇晃着半袖的蕾丝袖口，格外温柔。一年一年过去，孩子们一个一个到来，巴赫的新作一首接一首公演，日子过得忙碌充实。安娜是音乐史上最慈爱的母亲，最贤惠的妻子，她还是巴赫最满意的抄谱员。抄谱并不是把作曲家的草稿抄成美术体就完事，那是很累人的活，需要把乐队总谱抄成数十份分谱，让每一位演奏者的谱架上各有一份。当年没有复印机，没有电脑分谱，全靠人手抄写。安娜抄写的乐谱字体非常工整漂亮，她为巴赫抄了20年乐谱，以致后来两人连音符字体、握笔姿势和削鹅毛笔的方式都完全雷同。这些后来收藏在博物馆的手抄乐谱和温暖的音乐，也默默纪念着一份相濡以沫的感情。

“如你以心相许，不妨秘而不宣；我俩灵犀相通，谁能猜出端详。”在巴赫的《安娜笔记本》中，有这样一首美丽的歌。在巴赫的传记里，他背后的女人们沉静羞涩，只留一个曼妙背影。这首诗诠释了沉默的爱情。他们一定时常一起弹琴，却从不轻易说爱。爱是一份萦绕漫长岁月的情意，一句封存心底的誓言和眼神与心的默契，即使长年在一起生活也不曾消磨爱的激情。叫人想起当时的民间舞蹈，远远眺望，旋转一圈，只为与她相对那一刻的悸动。

（1725年的“安娜.马格德琳娜.巴赫笔记本”的封面）

　　初学古典音乐，尤其是学习弹钢琴不久，都会遇到选自“安娜.马格德琳娜.巴赫笔记本”的练习曲。谁是安娜.马格德琳娜.巴赫？她的笔记本是怎么回事呢？

　　1920年担任克腾宫廷乐队指挥时期，巴赫的第一位妻子去世。第二年年末，巴赫与比他小16岁，年仅20的宫廷乐队歌唱演员安娜.马格德琳娜结婚。安娜是一位好妻子，他们夫妇共生育了13个孩子，但是养育成人的只有6个，加上巴赫前妻生的4个孩子，她共抚养10个孩子，其中最小的是克里斯蒂安.巴赫(1736-1782)，他后来成了一名出色的作曲家。

　　作为职业歌手的安娜，除了要照顾孩子，照顾巴赫的学生，接待其它来访的乐师，还经常熬夜帮助巴赫誊写乐谱。她最开心的就是她的乐谱笔迹与丈夫的笔迹极其相似。安娜尽心尽力地帮助丈夫，但是史料上对她的记载不多。唯一让我们知道她的名字的只有两本“安娜.马格德琳娜.巴赫笔记本”。

　　1722年，巴赫编写了一本乐谱册，题名为“致安娜.马格德琳娜.巴赫的键盘曲集(Notebook for Anna Magdalena Bach)”，送给了年轻的妻子。这本乐谱册是为键盘乐器写的练习曲集，它包括有法国组曲，哥德堡变奏曲的歌谣主题，多首清唱剧的咏叹调和圣咏调，和比较容易演奏的小品等。这本乐谱现存共25页，其中两页是空白。据说只是原作的三分之一，其它页已不知下落。乐谱集的背面和页角用棕色皮革装饰，封面是浅绿色，封面题目是安娜的手迹，封面右下角三本书名是巴赫的手迹。至於巴赫为何在封面上写这些书名，原因不得而知。

（1722年的乐谱集封面）

　　This is the title page of the first (1722) notebook for Anna Magdalena Bach. Note the titles of the three Pfeiffer books written by Bach in the lower right corner.

　　1725年，巴赫送给妻子一件礼物（有说是生日礼物），是一本记乐谱的笔记本。本子的封面是绿色的，有金色边框，安娜名字的缩写字母A.M.B.和年代1725用金字印制。本子里每一页都镶有金边。这个笔记本比1722年的乐谱集内容更丰富。其中大部分乐谱由安娜抄写，小部分由巴赫和小巴赫抄写。除此之外，还有其它亲戚朋友和不知名音乐家的作品。这些作品对初学者来说也非常流行。

　　1722和1725两本乐谱的主要区别在于，1722年的乐谱集里主要是巴赫的作品，而1725年的笔记本则是巴赫和其它作曲家作品的集锦。后者反应了18世纪家庭音乐的一个侧面，以及巴赫家庭的音乐风格。

　　现代所提到的“安娜.马格德琳娜.巴赫笔记本”，一般是指1725年这一本。共有约39首曲子，多数采用“BWV Anh.”编号，都是巴赫作品目录中所没有的，非常著名的一首G大调小步舞曲(Menuet in G)，在其中编号为BWV Anh.114。而与巴赫作品目录中相同的作品，编号也相同。

In 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