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Denkmäler deutscher Tonkunst (literally "Monuments of German musical art") is a historical edition of music from Germany, covering the Baroque and Classical periods.
The edition comprises two series: the first appeared in sixty-five volumes between 1892 and 1931, and the second, which was subtitled Denkmäler der Tonkunst in Bayern (Monuments of musical art in Bavaria), in thirty-six volumes between 1900 and 1931. The first series was issued by a Prussian royal commission of celebrity musicians and musicologists in instalments through the music publishers Breitkopf & Härtel in Leipzig, and the second by the Society for the Publication of Monuments of Musical Art in Bavaria.
A parallel series of volumes on Austrian composers, Denkmäler der Tonkunst in Österreich (Monuments of musical art in Austria), was begun in 1959, and as at 2015-10-25 is in progress at one hundred and fifteen volumes.
References to these editions in this article in common with general practice use the acronyms DdT, DTB, and DTO, and to the Münchener Digitalisierungs Zentrum Digitale Bibliothek with MDZ.
Between 1957 and 1961 the First Series was revised and re-issued by the publishers under the editorship of H. J. Moser again in sixty-five volumes.
In 1962 revision of the Second Series of DdT (i.e., DBT) was begun. By 1970 three volumes (9, 20, and 22) had been revised. [1] San Francisco Public Library lists volumes 34, and 36, with date 1962. [2]
In 1967 the publication of a neue Folge (new series) of DdT : DBT with the same musical content was started by the Gesellschaft für Bayerische Musikgeschichte (Society for Bavarian Music History) via Breitkopf & Härtel. The DdT was dropped and the new series entitled "Denkmaeler der Tonkunst in Bayern". The editors decided on volumes of musical scores, and book-format special volumes (Sonderbände). As at 2015-10-25 twenty-four volumes of musical scores have been published, and two special volumes. Breitkopf & Härtel's catalogue refers. [3]
The Münchener Digitalisierungszentrum (Munich Digitization Centre) of the Bayerische Staatsbibliothek (State Library of Bavaria) has published the 1892 DdT, and 1900 DBT, online. [4]
The genesis of DdT is indicated by the title page to Volume One: Denkmäler deutscher Tonkunst herausgegeben durch eine von der königlich Preussischen Regierung berufene Commission [5] (Monuments of German musical art edited by the Commission appointed by the Royal Prussian Government)
The Kingdom of Prussia was ruled at its peak by Emperor William II (1859–1941), and Chancellor Otto von Bismarck (1815–1898). After the resignation of the Chancellor in 1890, the Emperor also presided over the fall of the kingdom. The production of DdT began in 1892, and continued throughout the First World War until 1931 and nearly the start of the Third Reich (1933–1945): an example perhaps of ars longa, vita brevis. The life of DdT was largely independent of the fall of Prussia, and its significance was tempered by the changes in Europe after 1918, and after 1945. The re-evaluation of its contents in the period 1959 to 1970 may be an indication either of the lasting value of the works of older composers from a modern perspective, or of a tendency to retain nationalism in music in some degree. The philosophy of Musica Britannica may hold a similar place in England. [6]
The value of these editions in drawing attention to music by composers who deserved recognition has been illustrated by Sir Jack Westrup. [7]
Bismarck's thoroughness, and efficiency, were thus not limited to the Prussian Army, and the Prussian welfare state, but characteristically extended to the art of music: stepping from the particular of Bismarck's choice to the general of national identity, the expression of national identity became a characteristic throughout the wider continent of Europe during the period 1870 to 1914. For example, national feeling in Czechoslovakia, Russia, and England encouraged the fine art counterparts of folk art that achieved expression in the works of inter alia Smetana, Dvořák, Tchaikovsky, Stravinsky, Holst, and Vaughan Williams.
Within this heady prevailing mixture of aspiration, purpose, and achievement, the foreword to the First Series explains the Commission's philosophy. Die Werke hervorragender älterer deutscher Tonmeister der Kunst und Kunstwissenschaft von neuem zugänglich zu machen, ist längst als eine Aufgabe unserer Zeit erkannt worden. . . .
Translation.——To make accessible again the works of outstanding older German musical masters of art, and of the science of art, has long been realized as a responsibility of our times. The emergence of the collected editions of the works of JOHANN SEBASTIAN BACH, HÄNDEL, SCHÜTZ, and others owes to this realization. Projects like Friedrich Chrysander's "Monuments of Musical Art", and the publications of the Society for Music Research, are wholly or at least in part dedicated to the same purpose in life.
Apart from the merit that these publications attract in themselves, they have at the same time the advantage of more clearly recognizing the difficulties that are considered by general agreement to have been overcome. Consideration of the difficulties suggests the desire for a new enterprise, which would complement the already existing volumes in print, would be compared with them, and at the same time be thought of as comprehensive, and limited: comprehensive, in that the aim of not only the full publication of the works of a single great master would be addressed; and limited, insofar as only compositions of German musicians of the XVI, XVII and XVIII century would be published.
The masters GLUCK and HAYDN may remain aüsser considered as total spending their compositions are great tasks to existing, the solution of which is only a matter of time otherwise scheduled no composer will be to exclude its Werke have a right to continue to live in the German people by historical and artistic importance. In the almost endless riches of such works but it is to call those musical masters the first publication of whom would be in prospect, because it requires preparatory work already long in progress:
(1) Composers of sacred and secular vocal music: HANS LEO HASSLER, SAMUEL SCHEIDT, JOHANN HERMANN SCHEIN, ANDREAS HAMMERSCHMIDT, MELCHIOR FRANCK, ADAM KRIEGER, JOHANN CHRISTOPH BACH (the Eisenach Bach), and JOHANN MICHAEL BACH.
(2) Organ composers: the master of the North German organ school exclusively BUXTEHUDE; also: SAMUEL SCHEIDT, JOHANN PACHELBEL and JOHANN GOTTFRIED WALTHER.
(3) Composers for Clavier and other instruments: JOHANN JAKOB FROBERGER, JOHANN KRIEGER, JOHANN KUHNAU, JOHANN BERNHARD BACH and CARL PHILIPP EMANUEL BACH. The Royal Prussian Ministry of Culture has conceived the attainment of such a plan for the publication of "Monuments of German musical art" headed one of num berufenen Commission and support the Publishing Act Breitkopf und Härtel in Leipzig envisaged. The present sample volume should serve to further illustrate of the company. The recording, which takes the company will prevail for the follow-up and arrangement thereof.
Berlin May 1892.
Johann Christoph Bach (1642–1703) was born in Arnstadt, and died in Eisenach. His compositions are regarded as the most important in the Bach family before Johann Sebastian Bach. [8]
German words and English translations with musical use in the context of DdT are given with possible interpretation below. Some words may lead to duplication of meaning.
German word | English translation | Possible interpretation |
---|---|---|
Band | volume, or tome | volume |
eingeleitet | started, initiated, introduced, prefaced, or preluded | introduced |
Folge | sequence, succession, sequel, edition, series, set, or suit | series |
half | half; as, erster Hälfte, first half | |
Herausgabe | of books, etc. publication, issue | publication |
herausgegeben | published (of a book, etc.), or edited | edited |
Jahrgang | of newspapers annual set, volume | year |
Lieferung | delivery, supply, parcel, lot, book trade number, part | instalment |
Reihe | row, file, rank, line, series, succession, tier, set, or train | set |
Teil, Theil | part, piece, portion, share, or section | part |
veröffentlicht | made public, announced, or published | published |
This listing is based upon visual inspection of the digital copies available at the Munich Digitization Centre
Volume | Title | Date |
---|---|---|
1. Band | Samuel Scheidts Tabulatura Nova für Orgel und Clavier | 1892 |
2. Band | Hans Leo Hasslers Werke. Erster Band. Cantiones sacrae für 4 bis 12 Stimmen | 1894 |
3. Band | Franz Tunders Gesangswerke. Solocantaten und Chorwerke mit Instrumentalbegleitun | 1900 |
4. Band | Johann Kuhnaus Klavierwerke | 1901 |
5. Band | Johann Rudolph Ahles Ausgewählte Gesangswerke mit und ohne Begleitung von Instrumenten | 1901 |
6. Band | Matthias Weckmann und Christoph Bernhard. Solocantaten und Chorwerke mit Instrumentalbegleitung | 1901 |
7. Band | Hans Leo Hasslers Werke. Zweiter Band. Messen für 4 bis 8 Stimmen | 1902 |
8/9. Band | Ignaz Holzbauer. Günther von Schwarzburg : Oper in drei Akten | 1902 |
10. Band | Orchestermusik des XVII. Jahrhunderts. I. Journal du Printemps von Johann Caspar Ferdinand Fischer. II. Zodiacus von D. A. S. | 1902 |
11. Band | Dietrich Buxtehudes Instrumentalwerke. Sonaten für Violine, Gambe und Cembalo | 1903 |
12/13. Band | Arien von Heinrich Albert | 1904 |
14. Band | Dietrich Buxtehude. Abendmusiken und Kirchenkantaten | 1903 |
15. Band | Carl Heinrich Graun. Montezuma : Oper in drei Akten | 1904 |
16. Band | Melchior Franck und Valentin Haussmann. Ausgewählte Instrumentalwerke | 1904 |
17. Band | Johann Sebastiani und Johann Theile. Passionmusiken | 1904 |
18. Band | Sonate da camera von Johann Rosenmüller | 1904 |
19. Band | Arien von Adam Krieger | 1905 |
20. Band | Johann Adolph Hasse. La conversione di Sant’Agostino : Oratorio | 1905 |
21/22. Band | Gesammelte Werke von Friedr. Wilh. Zachow | 1905 |
23. Band | Ausgewählte Werke von Hieronymus Praetorius | 1905 |
24/25. Band | Hans Leo Hasslers Werke. Dritter Band. Sacri concentus für 4 bis 12 Stimmen | 1906 |
26/27. Band | Johann Gottfried Walther. Gesammelte Werke für Orgel | 1906 |
28. Band | Georg Philipp Telemann. Der Tag des Gerichts : Ein Singgedicht in vier Betrachtungen von Christian Wilhelm Alers. Ino : Kantate von Karl Wilhem Ramler | 1907 |
29/30. Band | Instrumentalkonzert deutscher Meister. J. G. Pissendem, J. A. Hasse, C. Ph. E. Bach, G. Ph. Telemann, Chr. Graupner, G. H. Stölzel, K. Fr. Hurlebusch | 1907 |
31. Band | Philippus Dulichius. Prima pars centuriae octonum et septenum vocum. Stetini, 1607 | 1907 |
32/33. Band | Nicolo Jommelli. Fetonte : Dramma per musica | 1907 |
34. Band | Newe deudsche geistliche Gesenge für die gemeinen Schulen | 1908 |
35/36. Band | Sperontes. Singende Muse an der Pleisse | 1909 |
37/38. Band | Reinhard Keiser. Der hochmütige, gestürzte und wieder erhabene Croesus | 1912 |
39. Band | Ausgewählte Werke von Johann Schobert | 1909 |
40. Band | Ausgewählte Werke von Andreas Hammerschmidt | 1910 |
41. Band | Philippus Dulichius. Secunda pars centuriæ octonum et septenum vocum | 1911 |
42. Band | Ernst Bach. Sammlung auserlesener Fabeln. und Valentin Herbing. Musikalischer Versuch | 1910 |
43/44. Band | Ausgewählte Ballette Stuttgarter Meister aus der 2 Hälfte des 18. Jahrhunderts. Florian Deller und Johann Joseph Rudolph | 1913 |
45. Band | Heinrich Elmenhorsts Geistliche Lieder komponiert von Johann Wolfgang Franck, Georg Böhm und Peter Laurentius Wockenfuss | 1911 |
46/47. Band | Philipp Heinrich Erlebach. Harmonische Freude musikalischer Freunde. Erster und anderer Teil | 1914 |
48. Band | Johann Ernst Bach. Passionsoratorium | 1914 |
49/50. Band | Thüringische Motetten der ersten Hälfte des 18. Jahrhunderts | 1915 |
51/52. Band | Ausgewählte Kantaten von Christoph Graupner | 1926 |
53/54. Band | Johann Philipp Krieger. 21 ausgewählte Kirchenkompositionen | 1916 |
55. Band | Carlo Pallavicino. La Gerusalemme liberata | 1916 |
56. Band | Johann Christoph Friedrich Bach. Die Kindheit Jesu. Die Auferweckung Lazarus | 1917 |
57. Band | Georg Philipp Telemann. Vierundzwanzig Oden. und Johann Valentin Görner. Sammlung neuer Oden und Lieder | 1917 |
58/59. Band | Sebastian Knüpfer, Johann Schelle, Johann Kuhnau. Ausgewählte Kirchenkantaten | 1918 |
60. Band | Antonio Lotti. Messen | 1930 |
61/62. Band | Georg Philipp Telemann. Tafelmusik | 1927 |
63. Band | Johann Pezel. Turmmusiken und Suiten | 1928 |
64. Band | Georg Benda. Der Jahrmarkt : Eine komische Oper | 1930 |
65. Band | Thomas Stoltzer. Sämtliche lateinische Hymnen und Psalmen | 1931 |
Beihefte 1 | Christoph Graupner als Kirchenkomponist. Ausführungen zu Band LI/LII (additions to vol. 51/52) der Denkmäler deutscher Tonkunst, Erste Folge, und Verzeichnis sämtlicher Kantaten Graupners von Friedrich Noack | 1926 |
Beihefte II | G. Ph. Telemann. Musique de Table. Ausführungen zu Band LXI und LXII (additions to vol. 61/62) der Denkmäler deutscher Tonkunst, Erste Folge von Max Seiffert | 1927 |
Denkmäler deutscher Tonkunst. Zweite Folge: Denkmäler der Tonkunst in Bayern : Veröffentlicht durch die Gesellschaft zur Herausgabe von Denkmälern der Tonkunst in Bayern [Monuments of German musical art. Second series: Monuments of musical art in Bavaria : Published by the Society for the Publication of Monuments of Musical Art in Bavaria] [9]
From Volume Twenty-six the words "unter Leitung der Adolf Sandberger" were added to the description. [10]
In the following list a forward slash "/" indicates a new line of print.
All words on the title pages of DTB are printed in capital letters. This usage has been interpreted by assignation of capital letters only to nouns, and proper names even when the words begin a new line.
For ease of reference the contents of the title pages are arranged into volume of the whole series, volume description (Jahrgang), title, publisher, and date of publication. From volume thirty-two as Dr Benno Filser Verlag arranged the title pages differently the arrangement has been followed here against the column heading.
Only from volume twenty-one did the publishers print the number of the volume in the whole series (e.g., einundzwanzigster Band der ganzen Reihe).
Minutiae of printing have been maintained: no opening bracket before vierundzwanstigster in volume twenty-four; an unascribed "I." in volume four, and an unascribed "II, 2" in volume fifteen, which are both missing from the descriptions in MDZ. [11]
Volume of whole series | Volume | Title | Publisher | Date |
---|---|---|---|---|
1 | erster Jahrgang | E. F. dall' Abaco / ausgewählte Werke, erster Theil | Verlag von Breitkopf & Härtel in Leipzig | 1900 |
2 | zweiter Jahrgang / Band I | Klavierwerke von Johann und Wilhelm Hieronymus Pachelbel | Verlag von Breitkopf & Härtel in Leipzig | 1901 |
3 | zweiter Jahrgang / Band II | ausgewählte Werke von J. K. Kerll erster Theil | Verlag von Breitkopf & Härtel in Leipzig | 1901 |
4 | dritter Jahrgang / Band I | Sinfonien der pfalzbayerischen Schule / (Mannheimer Symphoniker) / I. | Verlag von Breitkopf & Härtel in Leipzig | 1902 |
5 | dritter Jahrgang / Band II | Ludwig Senfls Werke erster Teil [12] | Verlag von Breitkopf & Härtel in Leipzig | 1903 |
6 | vierter Jahrgang / I. Band | Orgelkompositionen von Johann Pachelbel / nebst beigefügten Stücken von Hieronymus Pachelbel | Verlag von Breitkopf & Härtel in Leipzig | 1903 |
7 | vierter Jahrgang / II. Band | ausgewählte Werke von Christian Erbach, erster Teil / Werke Hans Leo Hasslers, erster Teil | Verlag von Breitkopf & Härtel in Leipzig | 1903 |
8 | fünfter Jahrgang (Doppelband) / I. Lieferung | Werke Hans Leo Hasslers, zweiter Teil / (Bermerkungen zur Biographie Hans Leo Hasslers und seiner Brüder, / sowie zur Musikgeschichte der Städt Nurnberg und Augsburg / im 16. und zu Anfang des 17. Jahrhunderts von A. Sandberger | Verlag von Breitkopf & Härtel in Leipzig | 1904 |
9 | fünfter Jahrgang / II. Lieferung | Werke Hans Leo Hasslers, zweiter Teil / (Notenteil und Einleitung von R. Schwartz) | Verlag von Breitkopf & Härtel in Leipzig | 1904 |
10 | sechster Jahrgang / I. Band | Nürnberger Meister der zweiten Hälfte des 17.Jahrhunderts / geistliche Konzerte und Kirchenkantaten / (eingeleitet und herausgegeben von Max Seiffert) | Verlag von Breitkopf & Härtel in Leipzig | 1905 |
11 | sechster Jahrgang / II. Band | ausgewählte Werke von Agostino Steffani erster Teil / herausgegeben von Alfred Einstein und Adolf Sandberger | Verlag von Breitkopf & Härtel in Leipzig | 1905 |
12 | siebenter Jahrgang / I. Band | ausgewählte Werke von Johann Staden erster Teil / published by Eugen Schmitz | Verlag von Breitkopf & Härtel in Leipzig | 1906 |
13 | siebenter Jahrgang / II. Band | Sinfonien der pfalzbayerischen Schule / (Mannheimer Symphoniker) / II. Teil I. Hälfte | Verlag von Breitkopf & Härtel in Leipzig | 1906 |
14 | achter Jahrgang / I. Band | ausgewählte Werke von Johann Staden zweiter Teil / herausgegeben von Eugen Schmitz | Verlag von Breitkopf & Härtel in Leipzig | 1907 |
15 | achter Jahrgang / Band II | Sinfonien der pfalzbayerischen Schule / (Mannheimer Symphoniker) / II, 2 / herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1907 |
16 | neunter Jahrgang / Band I | Evaristo Felice dall' Abaco / ausgewählte Werke / zweiter Teil / herausgegeben von Adolf Sandberger | Verlag von Breitkopf & Härtel in Leipzig | 1908 |
17 | neunter Jahrgang / Band II | Leopold Mozart / ausgewählte Werke / herausgegeben von Max Seiffert | Verlag von Breitkopf & Härtel in Leipzig | 1908 |
18 | zehnter Jahrgang / Band I | Gregor Aichinger / ausgewählte Werke / introduced and edited by Theodor Kroyer | Verlag von Breitkopf & Härtel in Leipzig | 1909 |
19 | zehnter Jahrgang / Band II | Adam Gumpelzhaimer / ausgewählte Werke / eingeleitet und herausgegeben von Otto Mayr | Verlag von Breitkopf & Härtel in Leipzig | 1909 |
20 | elfter Jahrgang / Band I | Werke Hans Leo Hasslers, dritter Teil / eingeleitet und herausgegeben von Rudolf Schwartz | Verlag von Breitkopf & Härtel in Leipzig | 1910 |
21 | elfter Jahrgang / Band II / (einundzwanstigster Band der ganzen Reihe) | ausgewählte Werke von Agostino Steffani, zweiter Teil / (erster Band der Opern) / herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1912 |
22 | zwölfter Jahrgang / Band I / (zweiundzwanzigster Band der ganzen Reihe) | ausgewählte Sinfonien von Anton Rosetti / eingeleitet und herausgegeben von Oskar Kaul | Verlag von Breitkopf & Härtel in Leipzig | 1912 |
23 | zwölfter Jahrgang / Band II / (dreiundzwanstigster Band der ganzen Reihe) | ausgewählte Werke von Agostino Steffani, zweiter Teil / (zweiter Band der Opern) / herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1912 |
24 | dreizehnter Jahrgang / vierundzwanstigster Band der ganzen Reihe) | ausgewählte Werke von Tommaso Traëtta / eingeleitet und herausgegeben von Hugo Goldschmidt | Verlag von Breitkopf & Härtel in Leipzig | 1913 |
25 | vierzehnter Jahrgang / Band I / (fünfundzwanstigster Band der ganzen Reihe) | ausgewählte Werke von Johannes Erasmus Kindermann / erster Teil / herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1913 |
26 | vierzehnter Jahrgang / Band II / (sechsundzwanzigster Band der ganzen Reihe) | Chr. W. Gluck, Le nozze d'Ercole e d'Ebe / eingeleitet und herausgegeben von Hermann Abert | Verlag von Breitkopf & Härtel in Leipzig | 1914 |
27 | fünfzehnter Jahrgang / (siebenundzwanzigster Band der ganzen Reihe) | Mannheimer Kammermusik des 18.Jahrhunderts / erster Teil / eingeleitet und herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1914 |
28 | sechzehnter Jahrgang / (achtundzwanzigster Band der ganzen Reihe) | Mannheimer Kammermusik des 18.Jahrjunderts / zweiter Teil / eingeleitet und herausgegeben von Hugo Riemann | Verlag von Breitkopf & Härtel in Leipzig | 1915 |
29 | siebzehnter Jahrgang / (neunundzwanstigster Band der ganzen Reihe) | ausgewählte Werke von Tommaso Traëtta / zweiter Teil / herausgegeben von Hugo Goldschmidt | Verlag von Breitkopf & Härtel in Leipzig | 1916 |
30 | achtzehnter Jahrgang / (dreissigster Band der ganzen Reihe) | Joh. Krieger, Franz Xaver Anton Murschhauser u. Joh. Philipp Krieger / gesammelte Werke für Klavier und Orgel / Herausgegeben von Max Seiffert | Verlag von Breitkopf & Härtel in Leipzig | 1917 |
31 | neunzehnter und zwanzigster Jahrgang / (einunddreissigster Band der ganzen Reihe) | Pietro Torri, ausgewählte Werke, Teil I / eingeleitet und herausgegeben von H. Junker | Verlag von Breitkopf & Härtel in Leipzig | 1920 |
32 | einundzwanzigster Jahrgang / bis vierundzwanzigster Jahrgang / (zweiunddreissigster Band der ganzen Reihe) | Johann Erasmus Kindermann, ausgewählte Werke / zweiter Teil / herausgegeben nach den hinterlassenen Materialien von / Felix Schreiber / und eingeleitet von / Bertha Antonia Wallner | Augsburg 1924 | Verlag von Dr. Benno Filser & Co., Kunstanstalt |
33 | fünfundzwanzigster Jahrgang / (dreiunddreissigster Band der ganzen Reihe) | Anton Rosetti / ausgewählte Werke – zweiter Teil / ausgewählte Kammermusikwerke / nebst einem Instrumentalkonzert / eingeleitet und herausgegeben von Oskar Kaul | Augsburg 1925 | Dr. Benno Filser Verlag G. M. B. H., Augsburg |
34 | sechsundzwanzigster Jahrgang / (vierunddreissigster Band der ganzen Reihe) | Jacobus de Kerle / ausgewählte Werke – erster Teil / die „Preces speciales etc.‟ / für das Konzil der Trient / 1562 / eingeleitet und herausgegeben von / Otto Ursprung | Augsburg 1926 | Dr. Benno Filser Verlag G. M. B. H., Augsburg |
35 | siebenundzwanzigster und achtundzwanzigster Jahrgang / (fünfunddreissigster Band der ganzen Reihe) | Johann Christoph Pez / ausgewählte Werke | Augsburg 1928 | Dr. Benno Filser Verlag G. M. B. H. |
36 | neunundzwanzigster und dreissigster Jahrgang / (sechsunddreissigster Band der ganzen Reihe) | Andreas Raselius / ausgewählte Werke | Augsburg 1931 | Dr. Benno Filser Verlag G. M. B. H. |
Agostino Steffani was an Italian ecclesiastic, diplomat and composer.
The German Bach-Gesellschaft was a society formed in 1850 for the express purpose of publishing the complete works of Johann Sebastian Bach without editorial additions. The collected works are known as the Bach-Gesellschaft-Ausgabe. On completion of the project, the Society dissolved itself.
The New Bach Edition (NBE), is the second complete edition of the music of Johann Sebastian Bach, published by Bärenreiter. The name is short for Johann Sebastian Bach (1685–1750): New Edition of the Complete Works. It is a historical-critical edition of Bach's complete works by the Johann Sebastian Bach Institute (Johann-Sebastian-Bach-Institut) in Göttingen and the Bach Archive (Bach-Archiv) in Leipzig,
Historical editions form part of a category of printed music, which generally consists of classical music and opera from a past repertory, where the term can apply to several different types of published music. However, it is principally applied to one of three types of music of this sort:
Friedrich Wilhelm Marpurg was a German music critic, music theorist and composer. He was friendly and active with many figures of the Enlightenment of the 18th century.
August Ferdinand Hermann Kretzschmar was a German musicologist and writer, and is considered a founder of hermeneutics in musical interpretation and study.
Denkmäler der Tonkunst in Österreich (1894–) is a historical edition of music from Austria covering the Renaissance, Baroque, and Classical periods. The most recent volume in the edition was published in 2017.
Johann Ernst Bach was a German composer of the Bach family. He was the son of Johann Bernhard Bach.
Uns ist ein Kind geboren, BWV 142 / Anh. II 23, is a Christmas cantata by an unknown composer. In the Bach-Werke-Verzeichnis it is listed among the works with a doubtful attribution to Johann Sebastian Bach. The text is based on a libretto by Erdmann Neumeister first published in 1711. Although attributed to Bach by the Bach-Gesellschaft when they first published it in the late nineteenth century, that attribution was questioned within thirty years and is no longer accepted. Johann Kuhnau, Bach's predecessor as Thomaskantor in Leipzig, has been suggested as the probable composer, but without any certainty.
Schlage doch, gewünschte Stunde, BWV 53, is an aria for alto, bells, strings and continuo. It was likely composed in the early 18th century, although its date of first performance is unknown. From the second half of the 18th century until the early 1950s the aria was attributed to Johann Sebastian Bach. In 1955, it was suggested by the Bach scholar Karl Anton that the aria's composer was more likely to be a member of Melchior Hoffmann's circle.
The Lochamer-Liederbuch is an extensive collection of German songs at the transition from the late Middle Ages to the Renaissance. It dates from the mid-15th century and is regarded as one of the most important surviving collections of music from fifteenth-century Germany. Other names are Locheimer and Lochheimer Liederbuch.
BWV Anh., abbreviation of Bach-Werke-Verzeichnis Anhang, is a list of lost, doubtful, and spurious compositions by, or once attributed to, Johann Sebastian Bach.
The first major biographies of Johann Sebastian Bach, including those by Johann Nikolaus Forkel and Philipp Spitta, were published in the 19th century. Many more were published in the 20th century by, among others, Albert Schweitzer, Charles Sanford Terry, Christoph Wolff and Klaus Eidam.
Nekrolog is the name with which Johann Sebastian Bach's obituary, which appeared four years after the composer's death, is usually indicated.
The Kyrie–Gloria Mass for double choir, BWV Anh. 167, is a mass composition in G major by an unknown composer. The work was likely composed in the last quarter of the 17th century. The composition has two sections, a Kyrie and a Gloria, each subdivided in three movements. It has twenty-two parts for performers: twelve parts for singers, and ten for instrumentalists, including strings, wind instruments and organ. Johann Sebastian Bach may have encountered the work around 1710, when he was employed in Weimar. In the 1730s he produced a manuscript copy of the Mass.
The Triple Concerto, BWV 1044, is a concerto in A minor for traverso, violin, harpsichord, and string orchestra by Johann Sebastian Bach. He based the composition on his Prelude and Fugue BWV 894 for harpsichord and on the middle movement of his Organ Sonata BWV 527, or on earlier lost models for these compositions.
Friedrich Wilhelm Birnstiel was an 18th-century German music publisher known for publishing two volumes of four-part chorales by Johann Sebastian Bach in the 1760s.
Stephan Hörner is a German musicologist and board member of the Gesellschaft für Bayerische Musikgeschichte.
Joh. Seb. Bach's Werke is the Bach Gesellschaft's collected edition of Johann Sebastian Bach's compositions, published in 61 volumes in the second half of the 19th century. The series is also known as Bach-Gesellschaft edition. It is also referred to as Bach-Gesamtausgabe. It is a German-language edition: title pages and notes by editors are exclusively in German.