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.

Passio secundum Joannem. Traditionelle Fassung (1739/1749)-J.S. Bach's Johannespassion BWV 245 for SATB and Piano.Bach's St. John Passion is among the greatest settings of the Passion in the history of music. The St. John Passion underwent several fundamental changes during Bach’s lifetime. Carus offers all of these surviving versions for sale. The traditional version of the St. John Passion using the partial autograph score is still most often performed. Carus now offers singers a new vocal score for performance which includes the well-known texts in the established sequence without requiring any additional page turns.

Jesu Priceless Treasure is one of very few Bach motets which are in five parts. Of all of Bach's motets it is the longest the most varied and has the greatest emotional range. It is founded on the hymn Jesu Meine Freude by Johannes Franck and the melody which Bach has used as the main feature of this motet is the one set to Franck's hymn by Johann Cruger and appeared first in his Praxis Pietatis Melica. The motet seems to have been written for the funeral of Frau Reese in 1723.This piece for SSATB voices can be sung unaccompanied or with the Piano Accompaniment provided in this edition.

Cantata for the 3rd Sunday after Trinity-Ich Hatte Viel Bekümmernis - Lord My God My heart And Soul Were Sore Distrest BWV 21.Cantata for the 3rd Sunday after Trinity.The cantata ?Ich Hatte Viel Bekümmernis? dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle. Its assigning to the third Sunday after Trinity probably only occurred the following year.With its large-scale structure and strong emphasis on biblical texts it was extremely popular in the 19th century and remains one of Bach?s best-known cantatas today.The cantata is published here with a Vocal score based on the New Bach Edition with an idiomatic straightforward Piano reduction by Martin Focke.- One of Bach?s best-known cantatas.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1021) Vocal score (BA10021-90) & performance material (BA10021) available for sale.

Adapted from the chorales of J.S. Bach and previously found in the Novello Parish Chior Book PCB.1167. This short set of chorale movements is written for unaccompanied SATB choir. Text is provided in Latin with English translation.

One of Bach's most beloved choral works here Andre Thomas makes the work more accessible for high school voices. For SSAATTBB chorus with continuo or optional instrumental ensemble the motet is a challenging advanced work well worth the time and energy!

This new setting of Bach's masterwork “Come Raise Your Voices ” has been created by Douglas Wagner. The key has been lowered to bring voice parts (especially bass) into practical ranges. An introduction has beenadded as well as a vocal ending. A new secular text and appropriate voice leading alterations have been created. This choral is also an excellent way to introduce basic counterpoint to young singers.

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

These arrangements for Choir and Organ meet the frequently made request to be able to perform well-known movements from Bach cantatas without the expense of a larger ensemble/orchestra. The cantata movements can be performed in accordance with the church year but are also suitable for performance in festive services and concerts.

Nun danket alle Gott. Par BACH JOHANN SEBASTIAN. Nun Danket Alle Gott / Niveau : 2.5 / Hymnes et chorals / Date parution : 1905-06-25/ Répertoire / SATB

The story tells of the efforts of a father to compel his daughter to give up coffee-drinking. The Coffee Cantata was written by Picander and set to music by Bach in 1732. Picander was the pseudonym of Christian Friedrich Henrici a German poet and librettist for many of Johann Sebastian Bach's Leipzig cantatas.

Now Thank We All Our God was a hymn first written by the German priest Martin Rinkart in the 1630s. It has been adapted many times over the years most famously by Mendelssohn as a hymn tune. The version here was created as the third movement of Bach's Cantata BWV 79 (The Lord is a Sun and Shield) written for Reformation Day in 1725. It has been arranged for SATB choir with keyboard accompaniment presented here with the popular English text.J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organistand choirmaster and wrote many ecclesiastical works.

Mis in B-klein of Hohe Messe-The Mass in B minor BWV 232 by Johann Sebastian Bach is a musical setting of the complete Ordinary of the Latin Mass. The work was one of Bach's last compositions not completed until 1749 the year before his death. For SATB choir with Piano accompaniment.