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The Prelude in F minor of The Well-Tempered Clavier book 1, in the BGA known as Vol. 14, p. 44, over eighty years before it was given the number 857 in the Bach-Werke-Verzeichnis. In the 2nd half of the 19th century the Bach-Gesellschaft (BG) published all Bach's works in around 50 volumes, the so-called Bach Gesellschaft Ausgabe (BGA). [3]
For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes.
List of Bach cantatas; List of chamber music works by Johann Sebastian Bach; List of chorale harmonisations by Johann Sebastian Bach; List of compositions by Johann Sebastian Bach; List of keyboard and lute compositions by Johann Sebastian Bach; List of masses, passions and oratorios by Johann Sebastian Bach; List of orchestral works by Johann ...
In the aria, the lines of the alto soloist and organ weave around each in what Alfred Dürr has described as "undoubtedly one of the most inspired vocal pieces that Bach ever wrote ... a passionate submersion in heavenly love." Composer directing cantata from gallery in a church, engraving from Musicalisches Lexicon, Johann Gottfried Walther, 1732
The 50 Greatest Pieces of Classical Music is a compilation of classical works recorded by the London Philharmonic Orchestra with conductor David Parry. [2] Recorded at Abbey Road Studios , Royal Festival Hall and Henry Wood Hall in London, the compilation was released in digital formats in November, 2009 and as a 4-CD set in 2011. [ 3 ]
Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. [2]
O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), [1] BWV 34 (BWV 34.1), is a church cantata by Johann Sebastian Bach.He composed it in Leipzig for Pentecost Sunday, and it was the basis for a later wedding cantata, BWV 34a, beginning with the same line.
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.