Johann Sebastian Bach
Suite I for Violoncello solo in G major
BWV 1007 (transposed to F major)
Arranged for Saxophone or Oboe by Robert Würz
Sources:
1. Anna Magdalena Bach - Manuscript, n. d. (ca. 1727-31)
2. Johann Peter Kellner - Mauscript, n. d. (ca. 1726)
3. Schober and Anonymous (2 copyists) – Manuscript, n. d. (ca 1750-99)
4. Anonymous – Manuscript, n. d. (ca 1775-1800)
One Cello-Suite a day keeps the doctor away.
About this Edition:
This edition is to be understood as an urtext edition in the sense that, apart from the arpeggiated double
stops, transpositions and breath signs, no tempo, dynamic or phrasing markings have been added and
all articulations are derived from the four historical sources.
An attempt was made to retain as many of the double stops and chords as possible in arpeggiated form,
and only in a few cases were they either thinned out or individual notes shifted down an octave.
Admittedly, playing all these arpeggios could at times sound a bit flunky and disturb the flow of the
melody, but it’s up to the performer to decide according to their own taste and instrumental-technical
possibilities which of the arpeggios to play and which to leave out. In general, it makes sense to play
more arpeggios in the repetitions or to use them as material for ornamentation.
In Bach’s music, it’s often difficult to decide where it makes musical sense to breathe. Many times he
likes to connect phrases in such a way that the end of the preceding phrase simultaneously forms the
beginning of the next phrase, creating an organic, free-flowing and overarching musical line that
doesn’t always welcome pauses for breathing.
Passages where breathing is not problematic are marked with a "V". Places where breathing could
disturb the flow, and should therefore be done as unobtrusively as possible, are marked with a
" , " (comma). However, since music is open to interpretation, these breath marks should be understood
merely as suggestions. After all, each performer should breathe in a way that seems most natural and
meaningful to them.
About The Editor:
Robert Würz is a saxophonist, woodwind player and composer based in Berlin. He studied music at the
Carl-Maria von Weber Music University in Dresden, graduating in 2006. His field of activity includes
both classical music and jazz. In his compositions, he combines the spontaneous expressiveness of jazz
with the melodic richness of classical music. For the last twenty years, he has found a close companion
in Bach's music and an inexhaustible source of inspiration.
Berlin, 2022 Robert Würz (wuerzr@web.de)
Saxophone
or Oboe
Suite I in G major
BWV 1007
Prélude
3
5
7
11
9
(transposed to F major)
19
15
17
arranged by Robert Würz 2022
13
J. S. Bach (1685-1750)
© 2022 Robert Würz
21
23
25
27
29
33
35
37
39
41
31
3
4
Allemande
3
6
9
14
♭
17
20
11
23
25
28
31
Courante
5
8
26
30
34
19
23
12
15
37
40
5
6
Sarabande
5
13
5
Menuet I
9
17
21
9
13
Fine
Menuet II
8
13
19
Gigue
7
7
Menuet I da capo
13
19
24
29
0
