SKU: SU.12800086

BachScholar Editions Vol. 86: BACH MEETS RAGTIME: 10 Four-Part Chorales Arranged (Volume 2) (41 pages) was born out of classic ragtime and related style improvisations on selected four-part chorales by J.S. Bach. These arrangements transform Bach’s short chorales into exciting and idiomatic concert pieces for piano while fully retaining the chorales’ original melodies and harmonies. Styles encountered in this collection include two-step rags, cake walk, waltz, etude, cool swing, march macabre, and hoedown. The ten pieces have been assembled in a strategic order so that they may be played in succession as an effective concert cycle. In addition, they may be played singly or in pairs and groups as the performer sees fit. A complete performance lasts approximately 36 minutes. This collection is ideal for piano students, teachers, and concert artists who seek fresh, new, and creative material for study and performance. Keyboard/Theory Published by: BachScholar.

SKU: SU.12800018

BachScholar Edition Vol. 18 – Toccata & Fugue in D Minor, BWV 565 (10 pages) presents Bach’s famous organ work in a highly idiomatic piano transcription. More of a literal transcription than an arrangement, this version remains true to Bach’s original organ score, which makes it accessible to the average pianist. (In contrast, the Busoni and Tausig arrangements are too difficult for most pianists.) Ideal for pianists from the late-intermediate levels and higher as well as concert artists and teachers who seek an exciting and authentic transcription of Bach for the concert hall or teaching studio. Includes tempo indications and fingering. Published by: BachScholar Publishing, LLC.

SKU: SU.12800062

Goldberg Variations, BWV 988 (3-page Preface, 63 pages, edited for piano, no fingerings). This attractive Urtext of Bach’s popular variation cycle is not only extremely user-friendly and extra-legible, but in addition, presents groundbreaking performance practice research that explains Bach’s never-before-revealed plan of tempo relationships between variations. This discovery is highly significant with regards to the tempi chosen for the 30 variations in a complete performance. The first edition from 1741, engraved by Bach himself, shows fermatas after some, but not all, variations. Most editors assume this was an oversight by Bach, and thus, add fermatas where they do not belong. Virtually all editions of our time add fermatas where Bach did not indicate them. Perhaps the only edition that correctly reproduces Bach’s fermata indications is Peters (ed. Kurt Soldan, 1937). Mapping out Bach’s fermata plan for the complete cycle reveals an ingenious and fascinating symmetrical arrangement of pairs and groups of variations unified by direct tempo relationships. Bach’s tempo plan has never yet been honored by commercial artists because they have been steeped in false, 19th-century tempo traditions, they have been too influenced by Glenn Gould, and they have never been made aware of Bach’s use of fermatas due to faulty editions. Bach’s master plan is beautifully laid out and all the tempo relationships are explained in the three-page Preface, which also contains a tempo hierarchy matrix relevant to Bach performance as well as Bach’s well-known Table of Ornaments. This edition is ideal for pianists from the late-intermediate levels and higher as well as concert artists, scholars, and teachers who seek an informative edition of the Goldberg Variations for the concert hall or teaching studio. Piano/Keyboard Published by: BachScholar.

SKU: SU.12800082

Special Introductory Price $59.95 through Sepbember 30, 2021BachScholar Editions Volume 82: J.S. BACH: 436 Four-Part Chorales - The Ultimate Edition for Performance, Study & Sight-Reading (303 pages). This premium Urtext edition of Bach’s masterpieces of harmony, edited especially for piano and keyboard (no fingerings) with durable spiral binding, includes more four-part chorales than any edition to date (including 65 more chorales than the popular 371 Chorales book). Performers will marvel at the clear and easy to read manuscript and will be delighted in having no page turns between chorales. The 436 chorales are arranged in alphabetical order (in German) according to each chorale melody (hymn tune), which are accompanied with English translations. This edition also includes a 15-page table of contents with background information of each chorale, a list of the chorales in BWV order for easy reference, and an alphabetical list of composers of the chorale melodies. Ideal for piano and organ teachers and students as well as college and university harmony and theory classes.Published by: BachScholar.

SKU: SU.12800022

BachScholar Editions Vol. 22 – 24 Four-Part Chorales | Advent & Christmas (33 pages) is a beautifully laid-out landscape volume with spiral binding consisting of 24 selected four-part chorales by J.S. Bach appropriate for the seasons of Advent and Christmas. Each chorale is notated in two parts for beginners (soprano and bass lines, fingerings indicated) followed by the original four-part chorale. The volume also includes an introduction from the editor plus a table of contents with historical information about the hymn tunes and their first performances in Bach’s cantatas. Ideal for piano and organ teachers and students, as well as for theory and keyboard classes at the college level. Published by: BachScholar Publishing, LLC.

SKU: SU.12800050

BachScholar Edition Vol. 50 – Jesu in D Minor (the saddest of all keys) (4 pages) presents a rich, romantic-style concert arrangement in D minor of Bach’s famous chorale setting from Cantata No. 147. Essentially the same as Hall’s arrangement of Jesu in D-flat major, this minor-key version is strikingly expressive and original, which is extremely mesmerizing to performers and listeners. Ideal for the teaching studio and concert hall for all grades from the intermediate through concert level. Piano Published by: BachScholar.

SKU: BR.BV-443

ISBN 9783765104435. 6.5 x 9.5 inches.

The international convention report focuses on Bach reception at the time of Mendelssohn and Schumann in the light of institutional and performance-practical continuities and upheavals. The broadly held view of the closure of an era between the 18th and 19th centuries proves to be no longer tenable. In its place emerges a new understanding of the vigor and durability of Baroque ensemble traditions and performance styles, which continued to thrive well into the 19th century and even into the early 20th century. The articles in this volume deal with this topic from the perspective sometimes for the very first time of the history of instruments, sources, institutions, society and composition technique.