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Originally composed for Vespers on Good Friday, and even longer in duration than the “St John Passion”, it reconstructs the story of Christ’s Passion with immense musical, emotional and spiritual intensity. “I have never experienced such silence or seen an audience moved in this way.” (Felix Mendelssohn Bartholdy) Up to the present day there has scarcely been a work in the history of music which has fascinated listeners and performers more than Bach’s “St Matthew Passion”. The subsequent history of the autograph is described by Martina Rebmann of the Staatsbibliothek zu Berlin. This facsimile edition presents the autograph score of the Christmas Oratorio for the first time in a high quality four-colour reproduction.īach specialist Christoph Wolff has provided an Introduction on the work’s genesis and the features of the manuscript. In contrast, other pages are written out in an immaculate fair hand. Some corrections allow the reader to look over the composer’s shoulder, as it were, and watch him transforming an aria step by step into its present form or struggling to find a definitive version for a short recitative. Other passages in the autograph likewise reveal traces of self-borrowing.

The autograph ‘betrays’ Bach’s working methods in the very first chorus: first he underlaid the words of a version from the birthday cantata Tönet ihr Pauken only to cross them out and replace them with the famous Jauchzet, frohlocket. What sounds today as if it could never have been otherwise, in reality dates back in part to earlier Bach pieces that he retexted and adapted for the new purpose. The Christmas Oratorio, with its six parts, has become dear to the hearts of countless music lovers all over the world. The facsimile in high-quality four-colour printing reproduces the extensive score in its original size BWV and bar numbers on every page facilitate its use. Martina Rebmann describes the genesis of the Bach collection at the Staatsbibliothek zu Berlin, which holds the autograph. The autograph offers revealing insights into the composer’s working methods, elucidated by Christoph Wolff in an accompanying essay. These works thus fix a decisive moment in the early history of the piano concerto genre which received significant impulses from Bach and his circle of students. They are noted down in a manuscript that is a unique and probably the most important document for the instrumental repertoire of the Leipzig “Collegium Musicum”.īach arranged his concerto movements in such a way that the harpsichord is given a solo part that exploits the instrument’s “clavieristic” possibilities to the full. Among these works are the harpsichord concertos. Music for a Leipzig “coffee house” and for other venues – Johann Sebastian Bach composed not only for the nobility and the church, but also for bourgeois musical culture. 21.Concerti a Cembalo obligato BWV 1052-1059 1 and at the Bach Archiv in Leipzig from Sept. The manuscripts will be exhibited at the library from Sept. Schubart succeeded Bach as organist at the court of Weimar in 1717, and the newly discovered documents were passed to the library as part of Schubart's estate, the foundation said.īoth the manuscripts and the aria found last year were unearthed by researchers from the Bach Archiv foundation in Leipzig, who have been combing German archives for information about the composer since 2002. It said the find also made clear that Bach went to Lueneburg in order to learn more about the influential North German organ school in Hamburg and Luebeck. "Technically highly demanding, these organ works document the extraordinary virtuoso skills of the young Bach as well as his efforts to master the most ambitious and complex pieces of the entire organ repertoire," the foundation said.

The manuscripts were found together with two previously unknown fantasias by Johann Pachelbel, copied by Bach's student Johann Martin Schubart.