Famous Bass Arias

SKU: CA.3550214

ISBN 9790007213459. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.

SKU: CA.3550249

ISBN 9790007141202. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.

SKU: CA.3550205

ISBN 9790007213411. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score available separately - see item CA.3550200.

SKU: CA.3550200

ISBN 9790007096106. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about.

SKU: CA.3107914

ISBN 9790007045289. Key: G major. Language: German/English.

After the really well-known cantata Ein feste Burg ist unser Gott BWV 80, Bach's only other cantata for Reformation Day is Gott, der Herr, ist Sonn und Schild BWV 79. The central chorale movement Nun danket alle Gott has become extremely famous separately from the cantata. This movement is characterised by the catchy melody of the two horn parts with their interludes between the lines of the chorale. These in turn are taken from the freely-composed opening chorus, thus forming a surprising link between the movement for chorus and the chorale. The chorus and both the arias in the cantata were used later in a Latin parody in the so-called Lutheran Masses. Score and part available separately - see item CA.3107900.

SKU: CA.3108089

ISBN 9790007206840. Key: D major. Text language: German/English. Text: Luther, Martin.

Bach's Reformation cantata, based on what is probably Martin Luther's most famous hymn, evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716, now missing, which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730, Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on, in the 1730s or 1740s, Bach replaced the introductory chorale movement with a chorale setting which was unique, spacious and motet-like in its style; this - uniquely in this respect - incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas, one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets, timpani as playing score) by Wilhelm Friedemann Bach are available (Carus 3108089). Score and parts available separately - see item CA.3108000.

SKU: CA.3107912

ISBN 9790007045265. Key: G major. Language: German/English.

After the really well-known cantata Ein feste Burg ist unser Gott BWV 80, Bach's only other cantata for Reformation Day is Gott, der Herr, ist Sonn und Schild BWV 79. The central chorale movement Nun danket alle Gott has become extremely famous separately from the cantata. This movement is characterised by the catchy melody of the two horn parts with their interludes between the lines of the chorale. These in turn are taken from the freely-composed opening chorus, thus forming a surprising link between the movement for chorus and the chorale. The chorus and both the arias in the cantata were used later in a Latin parody in the so-called Lutheran Masses. Score and part available separately - see item CA.3107900.

SKU: CA.3108013

ISBN 9790007045371. Key: D major. Language: German/English. Text: Luther, Martin. Text: Martin Luther, Salomo Franck.

Bach's Reformation cantata, based on what is probably Martin Luther's most famous hymn, evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716, now missing, which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730, Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on, in the 1730s or 1740s, Bach replaced the introductory chorale movement with a chorale setting which was unique, spacious and motet-like in its style; this - uniquely in this respect - incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas, one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets, timpani as playing score) by Wilhelm Friedemann Bach are available (Carus 3108089). Score and part available separately - see item CA.3108000.