Composers

Bach, Johann Sebastian (1685 - 1750)

Sample page — 266x ⇩

The ancient sources of Cantata “Herr Christ, der einge Gottessohn” [BWV 96], including the aria and online available on Bach digital, are: a) manuscript of the score, D-B Mus.ms. Bach P 179, Faszikel 1; b) manuscript of parts, D-LEb Thomana 96 (Depositum im Bach-Archiv). The critical edition by Matthias Wendt, Bärenreiter Verlag, 1990, Plate BA 5074, available on IMSLP, was also consulted.

Version 1.0
Sample page — 258x ⇩

The ancient sources of Cantata “Gelobet sei der Herr, mein Gott” [BWV 129], online available on Bach digital, are: a) manuscript of parts, D-LEb Thomana 129, Faszikel 1, with the autograph part of organ; b) manuscript of the score by C.F. Penzel, D-B Mus.ms. Bach P 950; c) manuscript of the score by C.F. Barth, D-B Mus.ms. Bach P 957; d) manuscript of parts by C.F. Penzel et al, D-B Mus.ms. Bach St 159. The critical edition by Alfred Dürr, Bärenreiter Verlag, 1967, Plate BA 5029, available on IMSLP, was also consulted.

Version 1.0
Sample page — 275x ⇩

Sources are: 1) Cantata „Schleicht, spielende Wellen, und murmelt gelinde“, BWV 206 [1724]: holograph manuscript of the score, Berlin, Staatsbibliothek, D-B Mus.ms. Bach P 42, Faszikel 1; 2) critical edition of the score: Neue Bach Ausgabe (NBA), Band 36 (Werner Neumann, 1963), IMSLP, 3) holograph manuscript of separate parts, Berlin, Staatsbibliothek, D-B Mus.ms. Bach St 80, Faszikel 1. The holograph sources are online available on Bach Digital (http://www.bachdigi­tal.de/).

Version 1.0
Sample page — 379x ⇩

Sources are: Sie werden euch in den Bann thun“, BWV 44 [1724]: autograph of the score, Berlin, Staatsbibliothek and the edition of the score, Neue Bach Ausgabe (NBA), I/12, S. 165 (Alfred Dürr, 1960), IMSLP. Cantata „Ihr, die ihr euch von Christo nennet“, BWV 164 [1725): autograph of the score, Berlin, Staatsbibliothek and the edition of the score, NBA (Walter Neumann), Band 21, IMSLP. Dramma per musica „Zerraißet, zersprenget, zertrümmert die Gruft“, BWV 205 [1725]: autograph of the score, Berlin, Staatsbibliothek and the edition of the score, BGA, band 11.2 (Wilhelm Rust, 1862).

Version 1.0
Sample page — 489x ⇩

Sources are: 1) Cantata „Es ist dir gesagt, Mensch,was gut ist“, BWV 45 [1726]: autograph score, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz and the 1860 edition of the score, by Wilhelm Rust, BGA, band 10; 2)  Cantata „Ich armer Mensch, ich Sündenknecht“, BWV 55 [1726]: autograph score, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz and the BGA edition of the score, by Wilhelm Rust, band 12. Sources are online available on Bach Digital (http://www.bachdigital.de/). BGA scores are also available on Petrucci Music Library.

Version 1.0
Sample page — 488x ⇩

Sources are: (a) the autograph manuscript of the score mu 6701.0731, RISM ID no.: 150201115, Det Kongelige Bibliotek (DK-Kk); (b) a later transcription of the score (1824), mu 9404.2682, RISM ID no.: 15020 5403, Det Kongelige Bibliotek (DK-Kk); (c) a collection of separate parts, Bach digital, ms. Bach St 459, Faszikel 1.

Version 1.0
Sample page — 475x ⇩

Sources are: Aria „Frohe Hirten [BWV 248] [1734]: autograph score, and the edition of the score, BGA, band 5. „Benedictus“, BWV 232 [1734-49]: autograph score, a ms. by C. P. E. Bach and the BGA edition of the score.

Version 1.0
Sample — 367x ⇩

Sources of Cantata „Jesus nahm zu sich die Zwölfe“, BWV 22 [1723] are: autograph score, Berlin, Staatsbibliothek and the 1855 edition of the score, BGA, band 5, editor William Rust.

Version 1.0
Sample — 395x ⇩

Sources are: Cantata „Geschwinde, ihr wirbelnden Winde“, BWV 201 [1729]: autograph score, Berlin, Staatsbibliothek and the 1862 edition of the score, BGA, band 24; Cantata „Ich bin in mir vergnügt“, BWV 204 [1726-27]: autograph score, Berlin, Staatsbibliothek and the BGA edition of the score, band 24; Cantata „Schweigt stille, plaudert nicht“, BWV 211 [1734]: autograph score, Berlin, Staatsbibliothek and the BGA edition of the score, band 24.

Version 1.0
Sample — 363x ⇩

Sources are: BWV 113: 1876 edition of score of cantata „Herr Jesu Christ, du höchstes Gut“, BGA, band 24. The aria for tenor is in movement n. 5; BWV 114: ms., partly autograph, of separate parts of cantata „Ach, lieben Christen, seid getrost“, Bach-Archiv Leipzig, Leipzig. The editor consulted the 1876 edition of the score, Bach-Gesellschaft Aus­gabe, band 24. The aria for tenor is in movement n. 2; BWV 115: 1876 edition of score of cantata „Mache dich, mein Geist, bereit“, BGA, band 24. The aria for soprano is in movement n. 4.

Version 1.1
Sample — 391x ⇩

The reference source is the original posthumous edition (1751) of Die Kunst der Fuge [BWV 1080], in the digitized collection of the Kongelige Bibliotek, Copenhagen. For this edition the editor consulted the 1878 version, by Bach Gesellschaft zu Leipzig (Band 25.1, editor Wilhelm Rust), which includes adjustments made by Bach himself on the first original and on the manuscript versions. The edition includes the score of the numbers from 7 to 16 and the separate parts with the keys most commonly used for practical performance with various instruments.

Version 1.0 with a new editorial format.
Sample — 359x ⇩

Source of Cantata “Non sa che sia dolore” [BWV 209] is the 1881 edition of Bach-Gesellschaft zu Leipzig, obtained from a ms by Johann Nikolaus Forkel (1749 – 1818), first Bach biographer. It is included in Band 29 - Kammermusik für Gesang. Bd.3. Cantate. Was mir behagt, ist nur die muntre Jagd. etc. (BWV 208-10, 194, 211012, 134a, 210a, 1040), editor Paul Graf Waldersee.

Version 1.0 with a new editorial format.
Sample — 423x ⇩

The reference source is the original posthumous edition (1751) of Die Kunst der Fuge [BWV 1080], in the digitized collection of the Kongelige Bibliotek, Copenhagen. For this edition the editor consulted the 1878 version, by Bach Gesellschaft zu Leipzig (Band 25.1, editor Wilhelm Rust), which includes adjustments made by Bach himself on the first printed original edition and on the manuscript versions. The edition includes the score of the last seven numbers of the 1751 edition, including Choral „Wenn wir in hoechsten Noethen“ and the separate parts with the clefs most commonly used for practical performance with various instruments.

New publication of version 1.0, previously published on October 11, 2009, with a revised editorial format.
Sample — 416x ⇩

Source is the posthumous edition (1751) of „Die Kunst der Fuge“ [BWV 1080], available in the digital collection of Kongelige Bibliotek, Copenhagen. Also, the 1878 edition of Bach-Gesellschaft zu Leipzig (Band 25.1, editor Wilhelm Rust) has been consulted, since it takes into account corrections of Bach himself on the first version of printed edition and the autograph ms. Corrections from Band 25.1 are marked in brackets or with dashed lines.

Version 1.0 has been published on April 21, 2009. Version 1.5, which corrects some transcription errors and has a better editorial format, has been published on May 1, 2013.
Sample — 376x ⇩

Source of „Ricercare n. 1 a tre voci“ [BWV 1079 n. 1], is the 1885 edition of Musikalisches Opfer edited by Bach-Gesellschaft in Leipzig (Band 31, editor Alfred Dörffel), based on the 1747 printed edition, supervised by Bach.

Version 1.0
Sample — 667x ⇩

Source is the 1860 edition of volume 9, Bach-Gesellschaft zu Leipzig (Joh. Seb. Bach’s / Kammermusik / Erster Band), edited by William Rust. There are two versions of this Trio in G major: a) Trio für zwei Flöten und Bass (BWV 1039) and b) Trio for Cembalo and Viola da Gamba (BWV 1038), later arrangement from Trio BWV 1039. There is a ms of separate parts of this last trio (Staatsbibliothek zu Berlin), where the figured bass part is declared by Rust as being an autograph ms.

Version 1.0 was first published on February 11, 2009. On August 4, 2013, it was ripublished with a revised editorial format.
Sample — 324x ⇩

Source is the development (Auflösung) of “Canon a 4”, Musikalisches Opfer, 1885 edition, Bach-Gesellschaft zu Leipzig (Band 31, editor Alfred Dörffel), based on the 1747 printed edition revised by Bach himself. The original presents only the first part in french clef, followed immediately by a bass clef, without indication of entry points of the other parts.

Version 1.0 was first published on January 1, 2009. On August 2, 2013, it was published with a revised editorial format.

Source of „Canon perpetuus“ is the Musikalisches Opfer 1885 edition, Bach-Gesellschaft zu Leipzig (Band 31, editor Alfred Dörffel). The instrumentation is taken from the ms. of Trio in C minor (BWV 1079 no. 8), dated 1755, belonging to F. W. Rust, Cöthen Gymnasium alumnus, and later student of W. F. Bach (Vorwort of BGA edition, p. VIII).

Version 1.1 (January 20, 2013) corrects three transcription errors and gives a new editorial format. Version 1.0 was completed on January 15, 2010.
Sample — 393x ⇩

Reference source is the 1885 edition of Musikalisches Opfer, Bach-Gesellschaft zu Leipzig (Band 31, editor Alfred Dörffel), based on the 1747 printed edition of “Ricercare a 6 voci” edited by Bach.

Version 1.5 with a new editorial format and an error correction has been published on January 19, 2013. Version 1.0 has been published on December 14, 2008. Separate parts have been published with currently used clefs.
Sample — 678x ⇩

Source of B minor Ouverture BWV 1067 is volume BGA31, Bach-Gesellschaft zu Leipzig, 1881-1885 edited by Alfred Dörffel.

Version 1.1
Sample — 431x ⇩

Reference source is the 1885 edition of Musikalisches Opfer, Bach-Gesell­schaft zu Leipzig (Band 31, editor Alfred Dörffel). The figured bass is based on the realization attributed to J. Ph. Kirnberger (Band 31 - Anhang).

Version 1.5 with a new editorial format and a general revision of slurs, ties and bass figures has been published on May 17, 2013. Version 1.0 has been published on March 6, 2008.