Today, as we did in episode 5 of this miniseries, we’ll examine the revisions Bach made from engraving copy to handwritten copy. This is an important view into the composer’s workshop, and unlike clear ameliorations between layers in his other works, the two versions of BWV 769 present a unique challenge in seeking the “best” version.
Changes like this (first beat, alto) are minute, yet fascinating:
(Top: engraving. Bottom: fair copy.) Bach made three revisions dealing with a similar leap of a fifth.
The most important revision in the inverted canon variation, is in this pedal line:
(Top: engraving. Bottom: fair copy.) Notice the ornament in the fair copy— we often see more ornaments in handwritten versions, but this is not consistently the case in this piece.
Heading over to the augmented canon, this revision (in the bottom line) seems to be the only one of major consequence:
(Top: engraving. Bottom: fair copy.) The need to change this canonic line stems from a revision Bach made 11 bars earlier— the lines being in augmentation with one another. Admire Bach’s brazenness as he changes what was D over B, to D over C#!
Here, as I mentioned, is a very early episode introducing the concept of Bach in revision:
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