Johann Sebastian Bach : Two-part Inventions-BWV 772-786

Johann Sebastian Bach's two-part inventions were an integral part of the study literature used in the composer's Piano lessons. And they are still just as important today. For Piano pupils there is no getting away from them for their basic demands 'to learn to play in tune' and 'to play in a cantabile style' are still valid. The musical text is based on the new Wiener Urtext edition of all of Bach's Inventions and Sinfonias edited by Ulrich Leisinger which keeps very close to the original manuscript of the composer. In the present edition the two-part inventions have been taken from the complete edition and published separately thusmaking them ideal for Piano lessons.

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Three Two Part Inventions qui a été écrite pourPiano. Les éditions Wiener Urtext qui ont éditées cette oeuvre l'ont répertoriée sour la référence UT_51004. / Piano / Partition

About Sonatas in G major E-minor Fugue in G minor(BWV 1021 BWV 1023 BWV 1026) By Johann Sebastian Bach (1685-1750) arranged by Meniker Zvi edited by Andrew Manze Peter Wollny. Score; Set of Parts; Urtext Edition for violin and basso continuo. Published by Baerenreiter-Ausgaben (German import). (BA.BA5167) ISBN M006466214. Baroque. 9x12 inches. First critical edition of a work firmly attributed to Bach: the G minor Fugue BWV 1026 Figured bass realization by Zvi Meniker Two violin parts: an Urtext part and a part marked with fingering and bowing suggestions by Andrew Manze Continuo part with bass figures This new edition supersedes the earlier performance edition ofsonatas BWV 1021 and 1023 published in the New Bach Edition. Like other volumes recently issued in revised editions - Sonatas and Partitas for Violin (BA 5116) Partita for Flute (BA 5187) and Six Sonatas for Violin and Obbligato Harpsichord in one volume (BA 5240) and in two volumes (BA 5118-19) - these two sonatas have been re-evaluated on the basis of newly unearthed sources. The Fugue BWV 1026 long considered spurious appears here for the first time in a scholarly-critical edition that places Bach's authorship above reproach

BWV997-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas.I first came across the Partita by Johann Sebastian Bach in a version for flute and strings beautifully recorded by Kurt Redel. Since my early teens it has been on my list of special pieces.The four movements show extraordinary variation. In the hands of Bach the key of C minor becomes particularly powerful of limitless weight sometimes even stern. Is there an opening of a movement from the baroqueera which compares with power of the first movement here? It is a magni-ficent example of musical temperament.Three 18th century manuscripts survive. One found among the papers of C.Ph.E.Bach and two by Johann Philipp Kirnberger a student of J.S.Bach. All three are in the form of a keyboard sonata. Because of the choice of register however one may ask whether they are in turn arrangements of an original composition for solo flute or solo violin. The Double is very pianistic and may therefore have been added later. For all movements except the Fugue I have supplied a piano part for the right hand.

Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier. / Piano

Arias with 1 or 2 flutes obbligato (with the complete vocal part)-Arias with 1 or 2 Flutes obbligato (with the complete vocal part).Selected movements from secular cantatas from St Matthew Passion Mass in B minor and the Lutheran Mass in A major. This volume presents for the first time all those arias from the oratorios Passions Masses and sacred and secular cantatas of Johann Sebastian Bach that contain obbligato parts for one or two Flutes. The musical text has been adopted from the “ Urtext ” of the New Bach Edition. Music and words are inseparable in Bach’s works. Therefore as an aid to the interpretation of these Flute solos our richly annotated collection offers notonly Flute part but also the complete vocal part for each movement. In this way the edition not only represents a novel form of Orchestral studies it also opens up an important area of the Flute repertoire. Contents:Kantate 45. Es ist dir gesagt Mensch was gut ist. Nr. 5 Alt-Arie: Wer Gott bekenntKantate 55. Ich armer Mensch ich Sündenknecht. Nr. 3 Tenor-Arie: Erbarme dichKantate 79. Gott der Herr ist Sonn und Schild. Nr. 2 Alt-Arie: Gott ist unsre Sonn und SchildKantate 180. Schmücke dich o liebe Seel. Nr. 2 Tenor-Arie: Ermuntre dich dein Heiland kommtKantate 94. Was frag ich nach der Welt. Nr. 4 Alt-Arie: Betörte Welt betörte WeltKantate 110. Unser Mund sei voll Lachens. Nr. 2 Tenor-Arie: Ihr Gedanken und ihr Sinnen (2 Flöten)Kantate 78. Jesu der du meine Seel. Nr. 4 Tenor-Arie: Das Blut so meine Schuld durchstreichtKantate 100. Was Gott tut das ist wohlgetan. Nr. 3 Sopran-Arie (Vers): Was Gott tut das ist wohlgetanKantate 96. Herr Christ der einge Gottessohn. Nr. 3 Tenor-Arie: Ach ziehe die Seele mit Seilen der LiebeKantate 102. Herr deine Augen sehen nach dem Glauben. Nr. 5 Tenor-Arie: Erschrecke doch du allzu sichre SeeleKantate 113. Herr Jesu Christ du höchstes Gut. Nr. 5 Tenor-Arie: Jesus nimmt die Sünder anKantate 99. Was Gott tut das ist wohlgetan. Nr. 3 Tenor-Arie: Erschüttre dich nur nicht verzagte SeeleKantate 114. Ach lieben Christen seid getrost. Nr. 2 Tenor-Arie: Wo wird in diesem JammertaleKantate 130. Herr Gott

In response to a continued interest in a scholarly facsimile of the Mass in B minor, a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911).

Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans-Georg Nägeli enthusiastically described the Mass as the greatest musical artwork of all time and all nations?. Since then it has been ranked as an icon of music history.

One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages Bach?s handwriting reflects the effort which this last work demanded of him.

The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years.
The renowned Bach scholar Christoph Wolff describes the work?s significance in his introduction, gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript.


This facsimile edition is a model for the presentation of musical sources, both in appearance and in documentation. [?] Wolff's facsimile will serve as foundational tools
(Notes, December 2008)

Once, Bach came up against the boundaries of his art, on blotchy, 260-year-old paper. ?Et expecto?? is this point in the B minor mass, ?And I look for the resurrection of the dead.? Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out ? although this is a fair copy ? hatched and scratched until the paper tore. He was already an old man, his script leans to the left. The handwriting here isn?t nearly as lively as in the ?Cum sancto Spirito?, written earlier. Everywhere, one is moved by the closeness to the manuscript which the facsimile conveys ? one of the most sumptuous ever published.
(DIE ZEIT Literatur, December 2007) / [Messe en Si mineur BWV 232] / Classique / Fac-similé /

Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier. / Piano

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

In response to a continued interest in a scholarly facsimile of the Mass in B minor a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911).Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818 Hans-Georg Nägeli enthusiastically described the Mass as the 'greatest musical artwork of all time and all nations”. Since then it has been ranked as an icon of music history.One of the primary functions of a facsimile is the preservation of such a cultural heritage particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore it is moving for Bach admirers to see how in some passages Bach’s handwriting reflects the effort which this last work demanded of him.The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years.The renowned Bach scholar Christoph Wolff describes the work’s significance in his introduction gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript.'This facsimile edition is a model for the presentation of musical sources both in appearance and in documentation. […] Wolff's facsimile will serve as foundational tools'(Notes December 2008)'Once Bach came up against the boundaries of his art on blotchy 260-year-old paper. ‘Et expecto…’ is this point in the B minor mass ‘And I look for the resurrection of the dead.’ Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out – although this is a fair copy – hatched and scratched until the paper tore. He was already an old man his script leans to the left. The handwriting here isn’t nearly as lively as in the ‘Cum

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

Arranged for Choir and Organ-Festive Choral Settings From Cantatas Arranged For Choir & Organ is ideal for church services and concerts and has easy-to-play Organ reductions.The six choral settings of this edition come from cantatas by Johann Sebastian Bach offering richly sounding ensemble forces for festive occasions of the ecclesiastical year (New Year Easter Ascension Day Whitsuntide Trinity Sunday). These arrangements for Choir and Organ by the church musician and organist of the Stiftskirche Tübingen Ingo Bredenbach will allow choirs unable to call on large orchestral forces with wind instruments and strings to perform these choral settings.Concertante cantata movements giving prominence to the choir have been selected; at the same time their texts do not restrict them to the particular religious holiday they were meant for in the Church year. These arrangements follow the score of the ?New Bach Edition?. They are playable on every two-manual instrument with pedal. The arrangements available here however require no imitation of the orchestral sound but stand as independent versions.

Cantata for Trinity Sunday-Es ist ein trotzig und verzagt Ding BWV 176Cantata for Trinity SundayThis cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed byBach apparently within a few weeks on texts by the contempotary Leipzig poetess Marianne von Ziegler.It is scored for Soprano Alto and Bass soloists mixed choir (SATB) 2 Oboes Oboe da caccia Strings and Basso continuo.- Urtext of the New Bach Edition- Performance material (BA10176) choral score (BA10176-91) & study score format 22.5 x 16.5cm (TP1176) available for sale

A new approach to Bach drawn from his compositions! With this collection that was conceived adapted and performed by Bob Zottola on the provided CD you can play first or second parts for: Two-Part Invention 4 in D minor · Minuet in F major · Minuet 3 in D minor · Little Prelude in C major · Gavotte in G minor · Minuet in A minor · Minuet in D minor · Gavotte in E-flat major · Minuet in E major · Minuet in C minor · Two-Part Invention 1 in C Major.

Revised edition of HN 1169 without fingerings-All piano students are familiar with Bach?s two-part Inventions but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to expressusing only two parts! In his famous preface the composer himself calls the work an ?Instruction? which teaches students and keyboard lovers to ?treat correctly? several parts to ?achieve a singing style in playing? and to?acquire a strong foretaste of composition?. We are now presenting a new edition of this