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

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

Par AASS LARS / HINSON MAURICE. The stylistic transition from the late Baroque to the Classical period was almost something of a Bach affair. While Johann Sebastian Bach (1685-1750) defined and summed up the Baroque musical language, his sons Willhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johann Christian, infused with the spirit of innovation, struck new musical paths that opened the way to the Classical and Romantic eras. This piano book celebrates the work of these four sons of Bach with a fascinating and varied collection of pieces for the grade 2-5 player. **ABRSM selected piece (Piano 2019-2020): Allegro in A / Instrumental Music, Piano Music / Recueil / Piano

Little Organ Book / Six Chorales 'Von Verschiedener Art' (Schübler-Chorales) / Chorale-Partitas. Par BACH JOHANN SEBASTIAN. Replaces BA 5171 Volume 1 of Bach' s organ music presents some of the most frequently played organ pieces altogether. Here they appear in a new engraving based on the New Bach Edition (NBA). This updated edition takes into account the latest findings of Bach scholarship: Thus, for example, a newly-discovered copy of the first edition containing inscriptions in Bach' s own hand could be incorporated into the musical text of the Schübler Chorales. For the Orgel-Büchlein, Bach' s autograph manuscript remains the principal source. Yet a glance at its early dissemination among his pupils reveals an abundance of readings that give interested organists insights into how perhaps Bach' s most famous collection was played at that time. Unfortunately no autograph manuscripts survive regarding the early chorale partitas. However the Foreword helps to solve the 'riddle' of how these partitas were handed down. Links to major sources have been provided in collaboration with the Bach Archive Leipzig and its Bach digital database. The relevant page of the source in question can be accessed quickly and conveniently via shortlinks at http://links.baerenreiter.com. These links are checked for their validity on a regular basis. - Complete new engraving - New detailed Foreword by Christine Blanken (Ger/Eng) - Links to relevant sources in Bach digital/ Répertoire / Orgue

Compilation. The Piano Treasury of Easy Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's favourite inventions, preludes, fugues, minuets, sonata movements, nocturnes, waltzes, mazurkas, intermezzos, romantic short pieces, impressionistic works, and light classics, as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas, and ballets by the master composers of the past four centuries. / Niveau : Elémentaire / Rép Classique / Recueil / Piano

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.

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

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

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. / Date parution : 1974-07-01/ Répertoire / Choeur SSATB, 2 Hautbois, 2 Violons, Alto et Basse

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. / Date parution : 1974-07-01/ Répertoire / Choeur SSATB, 2 Hautbois, 2 Violons, Alto et Basse

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

Johann Sebastian Bach's six suites for solo cello (BWV 1007-1012) are among the most significant compositions for unaccompanied melody instrument and have won a permanent place in the repertoire of every cellist.Joachim Linckelmann has made the first two suites available for performance on the flute. His arrangements exploit the technical possibilities of the instrument while never straying far from the original. ln this form the cello suites will not onIy be a welcome diversion in the literature for solo flute, but pose a genuine challenge to every flautist.· Convincing, straightforward arrangement· Welcome addition to the solo flute repertoire / Flûte / Partition

25 Perfect Pieces for Perfect Days. Par . Wedding Music for Manuals is a stunning and player-friendly collection of 25 of the most requested and timeless classical organ pieces for wedding ceremonies. From the timeless elegance of Pachelbel's 'Canon in D' to the majestic triumph of Wagner's 'Bridal March', this book is a must-have for any organist looking to add a touch of sophistication to their wedding repertoire. Each piece has been carefully selected and arranged for manuals, with an emphasis on capturing the emotional power and joy of the wedding day. Featuring compositions by renowned masters such as Mozart, Bach, and Handel, Wedding Music for Manuals is the perfect musical companion for any unforgettable wedding day. / Date parution : 2023-06-01/ Recueil / Orgue

from Cantata No. 147-Johann Sebastian Bach is regarded as one of the greatest composers of all time. His music is revered for its technical command artistic beauty and intellectual depth. This chorale movement is one of his most enduring works however the melody was originally composed before Bach’s time in 1642 by Johann Schop. Utilising the already existing melody Bach wrote this setting of Jesu Joy Of Man’s Desiring in 1716 as the 10th and last movement of the church cantata ‘Herz und Mund und Tat und Leben’ (BWV 147) one of the over three hundred cantatas written by the master of the Baroque period.This edition of the familiar melody which is often performed at weddings and Christian festive seasons like Christmas and Easter is arranged for SATB Chorus and Organ. All four verses of the lyrics are provided in English translation along with the original version in German.