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26 Chorales Chorales “The blessed author has no need of my recommendation. One expects nothing but masterpieces from him. His name ensures that those versed in the art of music will not fail to appreciate the present collection when they examine with due attention the especial ordering of the harmony, the natural flowing of the inner voices and of the bass, all of which excellently distinguish these chorales.” With these bold words Carl Philipp Emanuel Bach proclaimed in 1765 the publication of a first volume of Johann Sebastian Bach’s four-part chorales. That project, which had to wait until 1784/1787 before its second and final stage was completed, en abled musicians to gain full insight for the first time into an important aspect of Johann Sebastian Bach’s creative output, revealing his harmonic and melodic power of expres sion, which was unrivalled by his contempo - raries, and which has never been surpassed. We have learned from Carl Philipp Emanuel Bach and Nikolaus Forkel that in musical education in Bach’s time the harmonization of chorales was the ladder lead ing up to the higher branch es of composition. This has remained the case to this day – for example in the curricula of conservatories of music. Despite, or perhaps because of their harmonic audacities resulting from the meaning of the words, the chorales meet the needs of church musicians in our time to a remark able degree. Bach chorales (E) “Awake my heart.” Bach chorales for the Church Year with English singing texts Coro SATB, Instr. and Org ad lib ed. K. Hofmann Carus 2.098/10 21 Chorales (G) / Coro SATB Carus 4.001 20 Chorales (G) / Coro SATB Carus 4.005 250–252 Three chorales for marriage ceremonies (G) Coro SATB, 2 Cor, instruments colla parte (Ob, Obda, 2 Vl, Va), Bc / ed. U. Wolf - Was Gott tut, das ist wohlgetan (before marriage ceremony) - Sei Lob und Ehr dem höchsten Gut (after marriage ceremony) - Nun danket alle Gott (after marriage ceremony) Carus 31.250 (in prep.) Chorale movements from larger vocal works 10/7 Lob und Preis sei Gott (G) / Coro SATB, Org in Carus 40.423/30 147/10 Jesus bleibet meine Freude (G/E, Chp: G) Coro SATB, [Ob], 2 Vl, Va, Vc/Cb, Org / 4 min Carus 40.108 227 Jesu, meine Freude (G/E), 4 chorales (nos. 1, 3, 7, 11) / Coro SATB, Org Carus 31.227/10 244 St. Matthew Passion (G) 12 chorales for Coro SATB Carus 6.258 245 St. John Passion (G/E) 11 chorales for Coro SATB, Org Carus 40.109 Riegler: Chorales in the style of J. S. Bach (G) Coro SATB and/or organ Carus 2.098/50 Further chorales by Bach, see the complete catalog or www.carus-verlag.com Bach vocal
Arrangements by Bach Johann Sebastian Bach appreciated good compositions by other masters, as is clear from contempo rary reports and from a glance at what remains of the contents of his music library. It is a fact, how ever, that in copies of other composers’ works which he made for his own use he seldom failed to make corrections here and there. For performances in Leip zig pieces sometimes had to be altered to comply with local liturgical regulations. Sometimes the text or the scoring did not comply with Bach’s expectations. The best example of this is provided by the famous Stabat Mater by Giovanni Battista Pergolesi, which Bach adapted for a performance as a Protestant penitential composition with German words and an enlarged orchestra. Bach’s choice of composi tions and his revi - sions of them make the contents of his music library an equally valuable and reveal ing repertoire for performance. Anonymus St. Luke Passion (G) (BWV 246, Anh. II 30) Soli SATB, Coro SATB, 2 Fl, 2 Ob, Tl, Fg, 2 Vl, Va, Bc Carus 10.295 From Bach’s music library; formerly attributed to him. The present edition is based on the score made partly by Bach himself. Der Gerechte kommt um (G/E) Coro SSATB, 2 Ob, 2 Vl, Va, Bc /� ed. D. Hellmann Carus 35.001 This attractive movement is the motet Tristis est anima mea, attributed to Johann Kuhnau, and was probably arranged by J. S. Bach. Missa in C major (BWV Anh. 25) Based on a transcription by Johann Sebastian Bach Soli SAT, Coro SATB, 2 Tr, 2 Vl, Bc /� ed. F. Rempp Carus 35.007 (in prep.) Vocal score and performance material of all works are available for sale. Bach vocal Francesco Bartholomeo Conti (1681–1732) Languet anima mea (L) Solo S, [2 Ob], 2 Vl, Va, Bc / 12 min ed. Y. Kobayashi Carus 35.401 (in prep.) Francesco Durante (1684–1775) Missa in C minor (BWV Anh. 26) arranged by Johann Sebastian Bach Soli SAT, Coro SATB, [3 Trb], 2 Vl, Bc /� ed. F. Rempp Carus 35.008 (in prep.) Arrangements 27 Georg Friedrich Händel (1685–1759) Brockes-Passion “Der für die Sünde der Welt gemarterte und sterbende Jesus” HWV 48 based on a transcription by J. S. Bach Soli STB, Soliloquenten, Coro SATB, 2 Ob, Tl, 2 Vl, Va, Bc / 150 min / ed. A. Traub / � Carus 55.048 Several times between 1712 and 1747 Bach performed a St. Mark Passion which probably was by a north German contemporary. For quite a long time the Passion was attributed to Reinhard Keiser and it was published under his name. The attribution refers to a title page from within Bach’s circle which men - tions “R. Kaiser” as the composer, whereby the “R” apparently already resulted as a [later] correction of the name. However, the composition differs so fundamentally from all other known works of Keiser, that without question it is not a work by Reinhard Keiser. Perhaps it was by another composer named “Kaiser” and rather early on it was already attributed to its well-known namesake. Reinhard Keiser (1674–1739) ascribed St. Mark Passion (G/E) arranged by Johann Sebastian Bach Solo SATB, Coro SATB, Ob, 2 Vl, 2 Va, Vc/Cb, Org 75 min /�, ed. H. Bergmann Carus 35.304 The version of a performance at the Weimar court from around 1713 by J. S. Bach; from his music library.
Page 1 and 2: �� Bach vocal Cantatas ·
Page 3 and 4: The Stuttgart Bach Editions Since i
Page 5 and 6: Cantatas Around 1700 in Protestant
Page 7 and 8: 19 Es erhub sich ein Streit (Michae
Page 9 and 10: 44 Sie werden euch in den Bann tun
Page 11 and 12: 71 Gott ist mein König (Cantata fo
Page 13 and 14: 104 Du Hirte Israel, höre (Miseric
Page 15 and 16: 146 Wir müssen durch viel Trübsal
Page 17 and 18: Bach vocal Performance of a cantata
Page 19 and 20: Motetlike movements in other vocal
Page 21 and 22: 232 III Sanctus in D major (from Ma
Page 23 and 24: 244 Matthäuspassion · St. Matthew
Page 25: he Bach Family by Carus-Verlag are
Page 29 and 30: Instrumental music Aria with 30 var
Page 31 and 32: Bach for Brass edited by Edward H.
Page 33 and 34: Bach-Repertorium The intention of t
Page 35 and 36: Johann Christoph Bach (1642-1703) J
Page 37 and 38: Johann Nikolaus Bach (1669-1753) Th
Page 39 and 40: Collected works in 11 volumes Edite
Page 41 and 42: Bach vocal Carus 40.351/20, postcar
Page 43 and 44: - Magnificat in C major Warb E 21 (
Page 45 and 46: Librettos to the great vocal works
Page 47 and 48: Johann Christian Bach - Concerti. T

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