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The pieces contained in this edition of Anna Magdalena Bach's notebook from Urtext have respected the originals of J. S. Bach. This edition is not intended for scholars of the Baroque era, but is rather instructional and practical for piano students who study J. Bach.
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In order not to interfere with Bach's original and for convenience, the notes of the ornaments, the digits and other suggestions of the editor appear in gray color. Together with the comments given in the footnotes, they provide indications such as elements of interpretation.
The teacher's criterion must always be followed, according to the abilities of each student, so that other digits can be used if he deems it convenient, or even dispensing ornamental signs initially (as Carl Philipp Emanuel Bach has indicated), so that once a student acquires the necessary skill, can approach them more easily. The "time" indications of each piece do not appear in the original.
In some cases, the reviewers have made a comparative analysis with other sources in order to correct some errors from copies and to clarify certain dubious ornamental resolutions, sometimes choosing to show different forms of the same ornamental sign.
Of the three "Klavierbuchlein" which were transmitted to us by the wife and children of J. S. Bach. The book of ANNA MAGDALENA of 1725 is a book that Bach gave to his young wife Anna Magdalena, singer with whom he had married in second nuptials, in 1721.
Numerous pieces of the "Klavierbuchlein" are signed by the contemporaries of Bach and his sons. These compositions were written mostly by strangers, or by some identified musicians, such as François Couperin, Johan Adolph Hasse and Cristian Petzold, the organist of the cathedral of Dresden, who composed minuets 4 and 5 on pages 16 and 18, perhaps the most known and popular from Anna Magdalena's Notebook.
At that time not much music was printed. Usually the music was played using handwritten manuscripts and copies, which suggests that some works by other authors were copied by Bach himself. This "Notenbüchein" * was thought for the personal use of its pupil and singer Anna Magdalena, but also for the musical education of children.
This edition of Anna Magdalena Bach's notebook contains all the pieces of the original manuscript, with the exception of the two "Partitas" BWV 827 and 830 which appear on the facsimile with nos 1 and 2 and those belonging to the "French Suites", BWV 812 and 813 having the numbers 30 and 31.
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