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*<br />
4a. (4.) Gloria<br />
Vivace<br />
Tromba I in D<br />
E File: B33-174.MUS Project: A&O 6k 20.10.09 File Date: 08-24-*9 Time: 10:39 Print data: 1.08 2.1 2.4 300 3<br />
35<br />
NBA<br />
174<br />
Tromba II in D<br />
Tromba III in D<br />
Bach‘s Mass in B minor in a Revised New Edition<br />
55<br />
Timpani d, A<br />
B33-035.MUS A&O 6k 20.10.09 09:49<br />
SCORE File: Project: File Date: Time: Print data:<br />
08-24-*9 1.08 2.1 2.4 300 3<br />
Flauto traverso I<br />
3<br />
3 3<br />
*<br />
4a. (4.) Gloria<br />
Vivace<br />
Tromba I in D<br />
35<br />
Flauto traverso II<br />
3<br />
Tromba II in D<br />
Tromba III in D<br />
3 3<br />
Timpani d, A<br />
Oboe I<br />
Oboe II<br />
→<br />
Flauto traverso I<br />
Flauto traverso II<br />
Oboe I<br />
Oboe II<br />
Fagotto I, II<br />
3 3<br />
Fagotto I, II<br />
Violino I<br />
3<br />
Violino I<br />
→<br />
The “Dresden Parts“<br />
Valuable information to the readings of the autograph<br />
score of Violino the Missa II can be drawn from the “Dresden<br />
parts” of 1733, largely written by Bach himself.<br />
The different readings of the parts are clearly<br />
differentiated Viola from the readings of the autograph<br />
score B33-174.MUS by the use of passages A&O 6k 20.10.09 printed 08-24-*9 in 10:39 grey. 1.08 2.1 2.4 300 3<br />
SCORE File: Project: File Date: Time: Print data:<br />
→<br />
Violino II<br />
3 3<br />
Viola<br />
Soprano I<br />
Soprano II<br />
Alto<br />
Tenore<br />
Basso<br />
Continuo (bez.)<br />
Violoncello<br />
8<br />
5<br />
2<br />
3<br />
5<br />
4<br />
2<br />
6<br />
6<br />
1743<br />
Soprano I<br />
* In Klammern geben wir die Satznummerierung nach NBA II/1 und II/1a.<br />
55<br />
3<br />
3 3<br />
From: J. S. Bach, Mass in B minor: Gloria · BA 5935 Score<br />
Soprano II<br />
3<br />
3 3<br />
Alto<br />
3<br />
In search of the original state of the autograph<br />
3 3<br />
Tenore<br />
3<br />
manuscript using scientific methods<br />
De i Pa<br />
8<br />
For the first time annotations by J. S. Bach and C. P. E. Bach<br />
tris,<br />
can be differentiated using<br />
a scen<br />
ink analysis (x-ray<br />
dit, a scen<br />
spectrography<br />
dit in<br />
3 Basso<br />
of over 500 places in the score). All corrections, additions and<br />
alterations by Bach’s son and places which remain doubtful<br />
5<br />
3<br />
5<br />
(because 4 of iron gall ink erosion) appear in the edition in<br />
De i Pa tris, 2<br />
2 a scen dit, a scen dit [in<br />
square brackets.<br />
6 6<br />
Continuo (bez.)<br />
Violoncello<br />
3<br />
3 3<br />
3<br />
De iPa Patris, tris,<br />
* In Klammern geben wir a die scen Satznummerierung dit, a scen dit in nach NBA II/1 und II/1a.<br />
a scen dit in<br />
De i<br />
3<br />
3<br />
→<br />
3<br />
De i Pa tris, a scen dit, a scen dit [in<br />
8<br />
De<br />
Pa<br />
i<br />
tris,<br />
Pa tris, a scen dit in coe lum, a scen dit in<br />
De i a scen dit in<br />
8<br />
De i Pa tris, a scen dit in coe lum, a scen dit in<br />
tram De i Pa tris, a scen dit in<br />
tram De i Pa tris, a scen dit in<br />
→<br />
From: J. S. Bach, Mass in B minor: Symbolum Nicenum, Et resurrexit
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