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*Cantata BWV 48, Rudolf Lutz & J.S. Bach-Stiftung, St. Gallen, compared to other four main HIP recordings.* This is my first contribution to the discussion group. I have previously posted a general

The website, "Which Bach Cantata Today" ( https://www.whichbachcantata.be/all-cantata-days/) ( https://www.whichbachcantata.be/all-cantata-days/ ) has posted recommended Bach sacred vocal music for

The three-day festival of Easter was initially observed in the Heinrich Schütz Resurrection History: Historia der Auferstehung Christi , SWV 50, his first Historiae of 1623, with the Resurrection

Thanks, David, this sounds like a very interesting and useful book - and very reasonably priced! Cheers Melissa Raven (Adelaide, South Australia)

Unpeeling Bach What have we learned over the past 50 years about how Bach performed his sacred vocal music, and how has our performance practice changed? by David

As with Protestant German Passion Musical accounts, Holy Week in Leipzig in Bach's time produced a plethora of Passion versions which he realized through all four gospel accounts with multiple

CD reviews: JS Bach: "Passionsoratorium" (BWV Anh 169) (ed. Alexander Grychtolik) Soloists, Ripienists, Il Gardellino/Alexander Grychtolik Handel: Messiah (version 1741) (HWV 56) - Soloists,

Thanks to all three of you for your contributions to my better understanding of the instruction at the top of the autograph score of BWV 71. I had never come across the information that the continuo

Yes, I see from Dr. Melamed that I guessed incorrectly, and I'm very happy to be corrected.? Thanks to both of you.

Not true at all. The Continuo part was *never *counted as one part. Besides which, the figuring of performers *never *included the Continuo parts anyways. When figuring the numbers of performers,

My guess is that the seeming discrepancy is about the basso continuo, which, when counting the number of independent parts in a work, was counted as a single part even though it was realized by two

With respect, this is not a difficult matter to explain in early eighteenth-century terms. The convention (not absolute, but most common) was to specify the number of musical lines _above the basso

Not concertists vs. ripienists, but *total* numbers (remember, the parts for BWV 71 (not the printed ones, but the handwritten parts) included *both *concertists *and *ripienists). Rifkin had *no

As most of you know, a central piece of evidence in the debate about the size of Bach’s choir is the autograph score of BWV 71. On the top of the first page, Bach wrote “Ab 18.?è si piace 22”

The last sentence of the first paragraph, "Mary Magdalene's encounter with Jesus)." leads to the Pentecost Festival with the gospel of John and the Epistle of Acts,

The *6th Sunday in Lent/Sunday of the Passion* (Palm Sunday). . . The email column "Which Bach Cantata Today? ( https://www.whichbachcantata.be/all-cantata-days/ (

The Gospel of John plays a major role in the last two Sundays in Lent ( Laetare and Judika , as well as the days of Holy Week, and the Sundays after Easter, most notably the third (Jubilate) to

New at BachCantataTexts.org: “Ich geh und suche mit Verlangen” BWV 49 http://BachCantataTexts.org/BWV49 BachCantataTexts.org is a freely available source for new historically-informed English

We are pleased to present a performance of J. S. Bach's "Was frag ich nach der Welt” BWV 94 directed by Steven Warnock with a lecture by Daniel R. Melamed. Links to the program and to an annotated

Do you wish you had more opportunities to learn about and engage in thoughtful conversations about Bach's sacred cantatas? Are you looking into an entry point into this exceptional, yet both