Johann Sebastian Bach: The Most Beautiful Oboe Solos From The Church Cantatas, BWV 12, 21, 76, 156, 249

An extensive volume filled with fugues from the last 350 years! Beginning with works by Frescobaldi Scarlatti Giambattista and Handel this collection features several compositions by the fugue's most famous expositor Johann Sebastian Bach including many pieces from the Well-Tempered Clavier. Contributions from latter-day composers include works by Mozart Beethoven Mendelssohn Robert and Clara Schumann Brahms and Saint-Saëns.

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 the 1st Sunday after Trinity (composed for June 11 1724)-O Ewigkeit du Donnerwort BWV 20Cantata for the 1st Sunday after Trinity composed for June 11 1724Johann Sebastian Bach opened the second year of his Leipzig church compositions on 11 June 1724 with a performance of the cantata ?O Ewigkeit du Donnerwort?.The work is based on a church hymn by Johann Rist that depicts in riveting language the terrors of the Last Judgment and the torments of Hell followed by an admonition to live a life pleasing to God. The poem inspired Bach to write one of his most impressive church compositions altogether.This remarkably extensive score with twelve sheets sheds particularly instructiveand detailed light on Bach's creative process. The Bach Archive Leipzig acquired this priceless manuscript at the end of 2016 making it possible for the first time to reunite the original performance material and the handwritten score of a Bach chorale cantata.Our facsimile edition complements the edition of BWV 20 presented by James Webster almost 50 years ago in volume I/15 of the ?New Bach Edition?.- Autograph score combined with the original parts- Two facsimile fascicles in four-colour reproduction (24 + 64 pp.) each in a facsimile dustcover and one volume of commentary (German/English 16 pp.) all combined in a slipcase- Series Documenta musicologica II/52- Limited edition of 250 copies- With a Commentary by Peter Wollny (Ger/Engl)

A selection of best-loved legendary music by one of the giants of the Baroque era appears in this magnificent compilation of keyboard works by Johann Sebastian Bach. Rich in unending melodic invention rhythmic flow and harmonic ingenuity beyond its time these pieces will delight amateur and professional pianists alike. Selections include Chromatic Fantasia and Fugue Italian Concerto Toccata and Fugue in D Minor and Prelude and Fugue in C Minor. Additional shorter works include Little Preludes Inventions Minuets. This superb compilation unites a generous selection of music in one convenient attractive and modestly priced volume.

2 Pieces Arranged for 5-String Banjo-The banjo shares many of the same sonic qualities as a harpsichord so although it's so closely associated with more homespun genres the instrument actually lends itself very well to classical music! The pieces in Bach for Banjo are in tablature only with chord symbols arranged at the beginning to intermediate level for five-string banjo players. As in classical guitar arrangements the melody and harmony are combined. Most pieces are on facing pages with no page turns required and beginners can pick through the selections at a slow pace. The book features just the best-known parts of 20 beloved Bach pieces: Air on the G String · Arioso · Minuet in G · Sheep May Safely Graze· Sleepers Awake · and more.

Based on Johann Sebastian Bach. First edition-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).When Johann Sebastian Bach created his six-part corpus of harpsichord concertos in 1738 (BWV 1052-1057) he gave pride of place to the Concerto in D minor BWV 1052. It has long been thought for good reasons that this piece was based on a lost violin concerto in the same key that he had already transcribed on twoprevious occasions.The second 'forerunner' of BWV 1052 is the present harpsichord concerto. It was first published by Wilhelm Rust in volume 17 of the old Bach Society Gesamtausgabe (1869) and given the number BWV 1052a in the Schmieder catalogue. Rust felt that Johann Sebastian Bach himself wrote out the principal source a set of orchestral parts preserved in the Berlin Staatsbibliothek under the shelf mark Mus. ms. St 350 and therefore treated the piece as an authentic early version of BWV 1052. Today however we know that the scribe was Carl Philipp Emanuel Bach who is generally also regarded as the work's author.Urtext of the New Bach EditionParts (BA5231) two-keyboard reduction (BA5231-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

All of Bach?s six authenticated motets were written between 1723 and 1727 for St Thomas? Church Leipzig where Bach was appointed as director of music in 1723. During this period Bach composed most of his cantatas and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition reserving his own motet compositions for special occasions.Four of his six motets were written for the funeral services of prominent members of the St Thomas? congregation. Jesu Meine Freude (BWV 227) the longest most musically complex and earliest of the six was written in 1723 for the funeralof Johanna Maria Käsin the wife of Leipzig?s postmaster.Jesu Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir by J.S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer?s original intentions and includes thoroughly detailed editorial markings and suggestions as edited by Konrad Ameln.Urtext of the New Bach EditionPerformance material and choral score (BA5132) available for saleComplete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90) choral score (BA5193)

All of Bach’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church Leipzig where Bach was appointed as director of music in 1723. During this period Bach composed most of his cantatas and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition reserving his own motet compositions for special occasions. Four of his six motets were written for the funeral services of prominent members of the St Thomas’ congregation. Jesu Meine Freude (BWV 227) the longest most musically complex and earliest of the six was written in1723 for the funeral of Johanna Maria Käsin the wife of Leipzig’s postmaster. Jesu Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir by J.S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer’s original intentions and includes thoroughly detailed editorial markings and suggestions as edited by Konrad Ameln. Urtext of the New Bach Edition Performance material and choral score (BA5132) available for sale Complete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90) choral score (BA5193)

Motet for five-part mixed choir-All of Bach?s six authenticated motets were written between 1723 and 1727 for St Thomas? Church Leipzig where Bach was appointed as director of music in 1723. During this period Bach composed most of his cantatas and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition reserving his own motet compositions for special occasions.Four of his six motets were written for the funeral services of prominent members of the St Thomas? congregation. Jesu Meine Freude (BWV 227) the longest most musically complex and earliest of the six was written in 1723 for the funeralof Johanna Maria Käsin the wife of Leipzig?s postmaster.Jesu Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir by J.S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer?s original intentions and includes thoroughly detailed editorial markings and suggestions as edited by Konrad Ameln.Urtext of the New Bach EditionPerformance material and choral score (BA5132) available for saleComplete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90) choral score (BA5193)

The Parallel German-English Texts with Annotations-The major choral works by Johann Sebastian Bach-the Christmas Easter and Ascension Oratorios and the St. Matthew St. Mark and St. John Passions-stand as the most frequently-performed and penetratingly discussed of the genre. Renowned Bach scholar Michael Marissen has assembled a compact well-designed and ideally useful treatment of Bach's oratorios providing the full German texts with literal English translations and copious annotations. He provides strict literal translations of these texts with citations from the Luther Bible as it was known in Bach's day along side extensive footnotes that provide information addressing the interests and concerns of today's Bachcommunity. These are the first translations of the librettos from Bach's oratorios to accommodate the many sense-clarifying allusions to the readings of the Luther Bibles in Bach's day to explore from historical dictionaries the meanings of previously unnoticed archaic usages and to contrast relevant findings from modern biblical scholarship. Marissen's insights are particularly helpful his thoroughness is impressive and the book will be a longstanding definitive and essential reference for choral directors performers audience members and Bach scholars alike.

10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master

Arrangeur: Johann Sebastian Bach. Par KUHNAU JOHANN. Adaptation of the motet 'Tristis est anima mea', attributed to Johann Kuhnau. The motet 'Der Gerechte kommt um' comes down to us as part of the Passion cantata 'Ein Lämmlein geht und trägt die Schuld' by Carl Heinrich Graun, into which movements by various other composers, including Bach and Telemann, were also later inserted. According to the research of Diethard Hellmann, editor of this edition, the motet was originally an a cappella composition by Johann Kuhnau with the text 'Tristis est anima mea', which then was adapted – most likely by Bach – with a new text and the addition of instrumental parts. The motet 'Der Gerechte kommt um' comes down to us as part of the Passioncantata 'Ein Lämmlein geht und trägt die Schuld' by Carl Heinrich Graun, into which movements by various other composers, including Bach and Telemann, were also later inserted. From the research of Diethard Hellmann, editor of this edition, the motet was originally an a cappella composition by Johann Kuhnau with the text 'Tristis est anima mea', which then was adapted—most likely by Bach—with a new text and the addition of insturmental parts. / Musique religieuse / Date parution : 1974-07-01/ Répertoire / Choeur SSATB, 2 Hautbois, 2 Violons, Alto et Basse