Most of the English-speaking choral singers who make up their country's thriving choirs and choral societies will have sung Bach's great Passions in English at some time or other. This edition is in both English and German giving the individual choir the option of which language to perform in. This book contains a preface by the editor Neil Jenkins and a suggested 'on the day' rehearsal schedule by Sir David Willcocks. St. Matthew Passion was written for solo voices ripieno choir 2 SATB choirs and 2 orchestras. The vocal score contains all voice parts and a piano accompaniment.

1. Choir 2. Choir Organ-Version of 1736 (final version)Bach???s St. Matthew Passion passed through several stages in its progress towards its final form stages that today cannot be completely reconstructed. It may be taken as certain that the work was performed on Good Friday 1729 in St. Thomas???s Church Leipzig in a version of which the copy made by Bach???s son-in-law Johann Christoph Altnickol gives us an approximate idea. There is no earlier extant autograph score than that of the later version which may probably be dated 1736 and on which the present edition is based.- Study score format 22.5 x 16.5cm- Urtext of the New Bach Edition-Full score performance material (BA5038) vocal score (BA5038-90) and study score (TP196) available for sale

Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition Klaus Hofmann Director of the Johann Sebastian Bach Institute Göttingen for many years and a contributing editor to the New Bach Edition presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach’s intentions. Bach scholars are well aware that Bach’s original score and performance parts running to almost 500 pages of music are full of ambiguities and contradictions particularly regarding articulation which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research.

Cöthen Funeral Music BWV 244a-The so-called Köthener Trauermusik (Cöthen Funeral Music) was performed at the memorial service for Prince Leopold of Anhalt Cöthen on 24 March 1729. The history of reconstruction begins in the second half of the nineteenth century. In 1873 Wilhelm Rust co-editor of the first Complete Bach Edition and subsequently Thomaskantor established the fundamental relationship between the Köthener Trauermusik on the one hand and the St. Matthew Passion and Trauerode BWV 198 on the other. In the service of concert practice it is the intention of this attempted reconstruction to enrich the repertoire of church music for Passiontide and the period aroundthe Sunday before Advent on which the dead are commemorated. It is also hoped that it will contribute to the understanding of Bach?s ?Great Passion? whose sister work the Köthener Trauermusik is.

Johann Sebastian Bach's Here Yet Awhile from 'St. Matthew Passion' for SSAATTBB choir with Piano or Organ accompaniment. Edited by H. W. Nicholl.

With English translation and adaption by Rev. Dr Troutbeck. Vocal Score edited by H.W. Nicholl.