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

Comme dans ses jours, Inventions de Johann Sebastian Bach font partie intégrante de l'enseignement de la littérature du piano, même aujourd'hui. Les trois exemples choisis avec fac-similé donnent un aperçu de l'atelier pédagogique de Bach et son objectif d'enseigner à ses élèves 'à cultiver un style cantabile de jouer et de gagner dès le début une forte avant-goût de la composition'. Le texte musical édité de la nouvelle édition est basée sur la révision de toutes les inventions et les symphonies du compositeur présenté par Ulrich Leisinger en 2007. / Piano

In response to numerous requests from customers we are now publishing a single-volume Wiener Urtext Edition of the established two-volume edition of Johann Sebastian Bach?s Six Partitas (Klavierübung Part I) edited by Klaus Engler and Edith Picht-Axenfeld. In this context we have revised our edition of this masterpiece of Bach?s art of the Suite putting even more of the page turns in convenient places and adding a preface in French.

“A mendicant woman from the Haynstrasse aged 59 years Anna Magdalena née Wilckin widow of Mr. Johann Sebastian Bach cantor at the St. Thomas School” – thus reads the entry dated 29 February 1760 in the Leipzig 'Ratsleichenbuch” (City Register of Deaths) for a woman whose name has become known throughout the world thanks to the two music books put together for her by Johann Sebastian Bach. Bach himself opened the book with two of the large Partitas subsequently published in the first part of the 'Clavierübung”; the rest of the contents was determined by Anna Magdalena. On the whole these areshort pieces of “galanterie”: minuets polonaises marches compositions by the elder children and attempts by the younger ones little pieces which she copied out of the family guest book and which had been written there more or less as tokens of friendship by the many visitors in the Bach home. - Urtext of the New Bach Edition - Edition with fingering also available BA5242 - Bibliophile performing edition hardback BA5115

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)

Third Part of the Clavier Ubung-In 1739 Bach?s Third Part of the Clavier Übung was published on 80 pages closely printed. Ever since then the collection has been regarded as a high point in the history of Organ composition as it offers an impressive cross section of Bach?s artistry.This present volume is an updated edition of Volume 4 Series IV of the New Bach Edition presented by Manfred Tessmer in 1969. A fully revised edition proved unnecessary as there were relatively few corrections affecting the musical text. However the volume now includes a detailed Preface by Christoph Wolff which discusses not only the work?s genesis but also offers an up-to-datedescription of the sources. For the new engraving of the musical text page-turns were reviewed and improved.Bach?s autograph is considered lost and so the main source is the original print of the collection from 1739. In collaboration with the Leipzig Bach Archive and its database Bach Digital this new edition includes links to two important copies of the original print which contain hand-written entries by Bach himself.Any complete scholarly-critical edition of the works of Johann Sebastian Bach must in the interest of its use by researchers and performers incorporate intervening new discoveries wherever possible. With this in mind Bärenreiter has entered an agreement with the Leipzig Bach Archive to reissue particular volumes as applicable either in updated performing editions based on the New Bach Edition or in thoroughly revised editions based on the New Bach Edition - revised. In this way each new performing edition will represent the cutting edge of research.Further hallmarks of this new generation of Urtext editions will be detailed up-to-date Prefaces and newly engraved musical texts with optimum page turns. Each volume will list incipits with links to the relevant manuscripts in Bach Digital thereby enabling the user to gain quick access to the sources.- With altered readings integrated into the musical text taking into account new musicological evidence.- With a new Preface by Christoph Wolff (Ger/Eng) discussing this work and its sources.- Newly engraved and with improved page

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 /

Zwei- und dreistimmige Inventionen-Johann Sebastian Bach’s Inventions and Sinfonias better known as two- and three-part inventions were an integral part of the teaching repertoire used in the composer’s piano lessons. And they still are! For piano pupils there is no getting away from them for their basic demands that is ‘to learn to play in tune’ and ‘to achieve to play in a cantabile style’ are still valid. The new edition of the Wiener Urtext Edition follows consistently Bach’s autograph fair copy. Ornamented versions from copies by Bach’s pupils providing an insight into Bach’s ornamentation have been printed separately; any mixing of the differentversions has been deliberately avoided. A suggestion has been made by means of an example for the realization of the ornament signs of Sinfonia No. 5. The notes on interpretation and the critical remarks provide information on further aspects of the performance practice. They are to be considered as suggestions and encouragement to study works the execution of which had not been laid down to the last detail thus opening up a wide range of creative possibilities for teaching.

If Bach Was A Cellist-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello.The concerto in D minor (BWV 1043) for two violins string orchestra and continuo by Johann Sebastian Bach (1685-1750) is one of his most loved works. Indeed the slow movement may be one of the most popular and loved pieces in the instrumental literature. Traditionally it is believed to have been written in Köthen where he held the position of 'fürstlischer Kapellmeister' from 1717-1723 a town that saw the birth of the Brandenburg concertos and the solo works for violin and cello. The Dorian church mode (the absent Bflat in the key of Dminor) would also speak for the younger Bach. Recent research however has shown that the orchestral parts carefully written out by Bach himself and found among the papers of his son Carl Philip Emanuel date from around 1730. The sophistication of the composition also speaks for a later date than Köthen. The original score has been lost.Always in need of concert material for his 'Collegium Musicus' in Leipzig Bach made a version of the present concerto for two harpsichords (BWV 1062). The original key was transposed to C minor so that the top note would not exceed a D but remain within the range of a standard harpsichord. Another C minor concerto (BWV 1060) for two harpsi-chords often heard in an arrangement from the 1920's for violin and oboe by Max Schneider and Max Seiffert speaks for two concertos in D minor for two violins by Bach.When arranging an orchestral score for the pianoforte one has to remember that a double-bass sounds an octave lower than notated. This is a welcomed fact when dealing with two instruments that play the original solo parts an octave down. At the same time for a transcription of this kind the ambition must be to avoid the cello soloists playing in octaves with the violin tutti parts - which is what would happen were they to share the same material. This ambition made a piano reduction

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

A large number of works have survived bearing the name of Johann Sebastian Bach the authenticity of which has been called into question on various occasions. This edition now combines all those pieces where Bach?s authorship has been either verified by the musicologists at the ?New Bach Edition? or where there is a degree of certainty about this.The edition gathers together a range of different types of composition: as well as numerous preludes and fugues there are toccatas dance and concert works. Two adaptations after the Violin solo sonatas BWV 1003 and 1005 are worth special mention. These two works demonstrate particularly clearly whatapplies to all the other works in this volume: whether Bach?s authorship is doubtful or not there is no question that this is a collection of fascinating music.This performing edition corresponds to the complete edition volume of the ?New Bach Edition? BA 5296 (Series V Vol. 12) published in 2006.- Urtext based on the ?New Bach Edition?.- Numerous facsimile pages.- Foreword on the history of the works? genesis transmission and on questions of authenticity(Ger/Eng).Contents:VorwortPrefaceFaksimilia/Facsimiles:SuiteB-DurBWV821 FantasieundFugeB-DurBWV907 Sonated-MollBWV964SuiteB-DurBWV821Toccatinad-Mollbestehendaus/consultingofPräludiumd-Mo llBWV899/1 Fuged-MollBWV900/02 AdagioundPrestoa-MollBWV923a Allegrettoscherzandod-MollBWV844 Andanteg-MollBWV969 Prestod-MollBWV970Scherzoe-MollBWV844aFantasieundFuged-MollBWV905FantasieundFughettaB-DurBWV907FantasieundFughettaD-DurBWV908

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