Bach, Johann Sebastian : Well Tempered Clavier - Book 1

Transcribed For Solo Electric Bass. Par BACH JOHANN SEBASTIAN. While many electric bassists study the Bach cello suites at some point, fewer attempt the sonatas and partitas for un- accompanied violin (BWV 1001-1006). Composed around 1720, the sonatas and partitas display rich polyphonic writing, unlike the simpler monophonic cello suites. This collection features a challenging but rewarding transcription of the complete A minor Violin Sonata (BWV 1002), which fits particularly well on the bass. Also included are the well-known gavotte en rondeau from the E major violin partita (BWV1006) and the complete A minor partita for solo flute (BWV 1013), transposed here to D minor. Finally, an arrangement of the familiar chorale Jesu, Joy of Man's Desiring (from BWV 147) takes advantage of the bass's natural and artificial harmonics. Performance notes are included. Written in notation and tablature for the 4-string electric bass. / Niveau : Intermédiaire / Baroque - Solos / Tablatures / Guitare Basse Tablatures

Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

Fassung Ii. Par BACH JOHANN SEBASTIAN. The St. John Passion ranks alongside the St. Matthew Passion, the Christmas Oratorio, the Magnificat and the B minor Mass as one of the great vocal works from Johann Sebastian Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he substantially revised the general concept of the piece and also changed numerous details. All previous editions of the St. John Passion have combined readings from various layers of sources and thus present the work in a form which was never heard during Bach’s lifetime. Consequently, the wish often expressed by conductors to perform anauthentic version by Bach could not be easily achieved. The present critical, new edition of the St. John Passion fulfills this wish and for the first time makes available the complete music of the second version of the work as it was performed under Bach’s direction in 1725. Since a number of movements were replaced by others, including the opening chorus, this version differs most dramatically from the “standard” version which is well known today. / Date parution : 2006-02-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

Fassung Ii. Par BACH JOHANN SEBASTIAN. The St. John Passion ranks alongside the St. Matthew Passion, the Christmas Oratorio, the Magnificat and the B minor Mass as one of the great vocal works from Johann Sebastian Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he substantially revised the general concept of the piece and also changed numerous details. All previous editions of the St. John Passion have combined readings from various layers of sources and thus present the work in a form which was never heard during Bach’s lifetime. Consequently, the wish often expressed by conductors to perform anauthentic version by Bach could not be easily achieved. The present critical, new edition of the St. John Passion fulfills this wish and for the first time makes available the complete music of the second version of the work as it was performed under Bach’s direction in 1725. Since a number of movements were replaced by others, including the opening chorus, this version differs most dramatically from the “standard” version which is well known today. / Date parution : 2005-12-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

Fassung Ii. Par BACH JOHANN SEBASTIAN. The St. John Passion ranks alongside the St. Matthew Passion, the Christmas Oratorio, the Magnificat and the B minor Mass as one of the great vocal works from Johann Sebastian Bach’s Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he substantially revised the general concept of the piece and also changed numerous details. All previous editions of the St. John Passion have combined readings from various layers of sources and thus present the work in a form which was never heard during Bach’s lifetime. Consequently, the wish often expressed by conductors to perform anauthentic version by Bach could not be easily achieved. The present critical, new edition of the St. John Passion fulfills this wish and for the first time makes available the complete music of the second version of the work as it was performed under Bach’s direction in 1725. Since a number of movements were replaced by others, including the opening chorus, this version differs most dramatically from the “standard” version which is well known today. / Date parution : 2005-12-01/ Répertoire / Solistes SATBB, Choeur SATB, 2 Flûtes Traversières

Par BACH JOHANN SEBASTIAN. Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Göttingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach’s intentions. Bach scholars are well aware that Bach’s original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. J. S. Bach's St Matthew Passion BWV 244 for SATB and Piano. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Göttingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research./ Répertoire / Choeur Mixte et Instrument Divers

for Strings Score and Parts. Par BACH JOHANN SEBASTIAN. Sinfonia No. 15 by Johann Sebastian Bach, originally for piano solo, is now available for string orchestras because of Shirl Jae Atwell\'s musical arrangement. Sinfonia No. 15 arranged in the original key of B minor, with an altered time signature from 9/16 to 9/8, is much more friendly for student musicians. Bach\'s Sinfonia No. 15, arranged by Atwell, is a great addition to string orchestra programs through dance-like eighth notes and flashy sixteenth-note arpeggiated sections creating an exciting Baroque experience. Teachers will love exploring the key of B minor, arpeggios galore for all instruments, bow distribution with 1/16ths as well as sustained notes, and the overall Baroque style found in this string orchestra arrangement by Atwell. Sinfonia No. 15 treats orchestras and audiences to the allure of the Baroque Era. / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

Par BACH JOHANN SEBASTIAN. Bach’s Six Partitas form what is presumably the most famous and challenging collection of suites in music history. Bach was aware of the weightiness of his cycle as he initially had these multi-movement partitas, composed in Leipzig between 1726 and 1730, published in individual editions. This culminated in their publication in an anthology that proudly sports the opus number “1” in 1731. Their diversity of forms knows no bounds and the musical texture is infused with the most ingenious counterpoint, but at the same time performers will not miss out on the enjoyment of virtuosic playing in any way. G. Henle Publishers presents this magnum opus in a revised Urtext edition that consults the original editions as well as autograph sources while also extensively documenting the numerous entries in correction copies from Bach’s circle. In addition, the ornamented versions have been included in the appendix. A true milestone!/ Répertoire / Piano

Par BACH JOHANN SEBASTIAN. The suites are the very core of cello literature, with their timeless beauty accompanying cellists from their student years throughout the height of their professional careers. Considering the works’ significance, the great number of editions in existence is not surprising. However, the composer’s autograph has not been preserved and is considered lost. This circumstance creates an exceptional challenge many editors faced over the years. The four autograph sources still in existence and the first print from 1824 show numerous small deviations, especially in terms of articulation markings and phrasing. This facsimile edition is the first to juxtapose all four autograph sources as well as the first print (along with Bach’s own arrangement of Suite No. V for lute). For the first time, readers can compare a specific section in all sources at one glance. This allows for a straightforward and immediate consideration of all sources./ Répertoire / Violoncelle