Bach the Borrower Playlist
click links below
Bach Talk: Bach the Borrower—Thursday, March 23, 2023
Reference source: Bach the Borrower, Norman Carrell, 1967; with advice and input from longtime Sonoma Bach Choir members (and resident musicologists) Mike Hall and Dan Solter.
Part I. Self-borrowings
Chapter I. From keyboard to keyboard
BWV 592: Concerto for organ
To
BWV 592a: Untitled work for clavier
Chapter II. From non-keyboard solo instrument to solo instrument
Fugue from BWV 1001: Violin Sonata 1 in G minor
To
BWV 1000: Fugue in G minor for lute
Chapter III. From keyboard to cantata
BWV 131a: Fugue in G minor for organ
To
BWV 131.5: Fugue from final chorus of Cantata 131: Aus der Tiefe
Fugue from BWV 541: Prelude and Fugue in G
To
BWV 21.2: Opening choral movement from Cantata 21: Ich hatte viel Bekümmernis
Chapter IV. From non-keyboard solo instrument to Cantata
BWV 1006.1: Prelude to Partita 3 in E major for solo violin
To
BWV 29.1: Sinfonia to Ratswahl Cantata 29: Wir danken dir
Chapter VI. From Concerto or Concerto Grosso to Cantata
BWV 1048.1: First movement of Brandenburg Concerto #3
To
BWV 174.1: Sinfonia to Cantata 174: Ich liebe den höchsten (5 wind parts added to the original 9 strings
Chapter VII. From suite or orchestral work (other than brandenburgs) to cantata
BWV 1068.1: Opening movement of Orchestral Suitee #4 in D major
To
BWV 110.1: Intro and chorus to Cantata 110: Unser Mund sei voll Lachens
Chapter IX. From Cantata or oratorio to cantata or oratorio
BWV 11.4: Alto aria from Cantata 11: Lobet Gott in seinen Reichen
To
BWV 232: Alto aria Agnus Dei from Mass in B Minor
BWV 12.2: Opening chorus from Cantata 12: Weinen, sorgen
To
BWV 232: Crucifixus from Mass in B Minor
Chapter X. From Cantata etc to solo instrument
BWV 140.4: Middle movement of Cantata 140: Wachet auf
To
BWV 645: Schübler Chorales #6
Chapter XIV. From solo keyboard instrument to instrumental concerto
Prelude of BWV 894: Prelude and Fugue in A minor for clavier
To
BWV 1044.1: First movement of Concerto in A Minor
Special category of self-borrowing I: Cantatas 214 and 215 and the Christmas Oratorio
BWV 214: Tönet ihr Pauken
To
BWV 248: Jauchzet, frohlocket
Special category of self-borrowing II: The Lutheran masses
Dan’s example is the Am major mass, cum sancto is drawn from cantata 136 (psalm 139): Erforsche mich, Gott (Search me o god, and know my heartl try me and know my thoughts. The music seems better adapted to the Cum sancto—maybe intended for that all the time?
BWV 136: Opening movement
To
BWV 234: Cum sancto spiritu
Part II: Borrowings from others
Pergolesi Stabat Mater (1736)
To
Bach 1083: Tilge mein Höchster (1740’s); Bach added viola
Palestrina Missa sine nomine à 6: Bach’s orchestration with brass
Vivaldi transcriptions, for example:
Concerto for 4 violins
To
Bach: Concerto for 4 harpsichords
Fugue on a theme by Giovanni Legrenzi
Many, many, many chorales were ‘borrowed’ by Bach, as was the universal custom of the time.
Bach borrows Rosenmüller’s setting of Welt ade for Cantata BWV 27, “Wer weiß, wie nahe mir mein Ende? (Who knows how near my end is to me?), for the 16th Sunday after Trinity 1726.
Bach adapted Kuhnau’s Tristis est anima mea into Der Gerechte kömmt um, to which Bach added orchestration
click links below
Bach Talk: Bach the Borrower—Thursday, March 23, 2023
Reference source: Bach the Borrower, Norman Carrell, 1967; with advice and input from longtime Sonoma Bach Choir members (and resident musicologists) Mike Hall and Dan Solter.
Part I. Self-borrowings
Chapter I. From keyboard to keyboard
BWV 592: Concerto for organ
To
BWV 592a: Untitled work for clavier
Chapter II. From non-keyboard solo instrument to solo instrument
Fugue from BWV 1001: Violin Sonata 1 in G minor
To
BWV 1000: Fugue in G minor for lute
Chapter III. From keyboard to cantata
BWV 131a: Fugue in G minor for organ
To
BWV 131.5: Fugue from final chorus of Cantata 131: Aus der Tiefe
Fugue from BWV 541: Prelude and Fugue in G
To
BWV 21.2: Opening choral movement from Cantata 21: Ich hatte viel Bekümmernis
Chapter IV. From non-keyboard solo instrument to Cantata
BWV 1006.1: Prelude to Partita 3 in E major for solo violin
To
BWV 29.1: Sinfonia to Ratswahl Cantata 29: Wir danken dir
Chapter VI. From Concerto or Concerto Grosso to Cantata
BWV 1048.1: First movement of Brandenburg Concerto #3
To
BWV 174.1: Sinfonia to Cantata 174: Ich liebe den höchsten (5 wind parts added to the original 9 strings
Chapter VII. From suite or orchestral work (other than brandenburgs) to cantata
BWV 1068.1: Opening movement of Orchestral Suitee #4 in D major
To
BWV 110.1: Intro and chorus to Cantata 110: Unser Mund sei voll Lachens
Chapter IX. From Cantata or oratorio to cantata or oratorio
BWV 11.4: Alto aria from Cantata 11: Lobet Gott in seinen Reichen
To
BWV 232: Alto aria Agnus Dei from Mass in B Minor
BWV 12.2: Opening chorus from Cantata 12: Weinen, sorgen
To
BWV 232: Crucifixus from Mass in B Minor
Chapter X. From Cantata etc to solo instrument
BWV 140.4: Middle movement of Cantata 140: Wachet auf
To
BWV 645: Schübler Chorales #6
Chapter XIV. From solo keyboard instrument to instrumental concerto
Prelude of BWV 894: Prelude and Fugue in A minor for clavier
To
BWV 1044.1: First movement of Concerto in A Minor
Special category of self-borrowing I: Cantatas 214 and 215 and the Christmas Oratorio
BWV 214: Tönet ihr Pauken
To
BWV 248: Jauchzet, frohlocket
Special category of self-borrowing II: The Lutheran masses
Dan’s example is the Am major mass, cum sancto is drawn from cantata 136 (psalm 139): Erforsche mich, Gott (Search me o god, and know my heartl try me and know my thoughts. The music seems better adapted to the Cum sancto—maybe intended for that all the time?
BWV 136: Opening movement
To
BWV 234: Cum sancto spiritu
Part II: Borrowings from others
Pergolesi Stabat Mater (1736)
To
Bach 1083: Tilge mein Höchster (1740’s); Bach added viola
Palestrina Missa sine nomine à 6: Bach’s orchestration with brass
Vivaldi transcriptions, for example:
Concerto for 4 violins
To
Bach: Concerto for 4 harpsichords
Fugue on a theme by Giovanni Legrenzi
Many, many, many chorales were ‘borrowed’ by Bach, as was the universal custom of the time.
Bach borrows Rosenmüller’s setting of Welt ade for Cantata BWV 27, “Wer weiß, wie nahe mir mein Ende? (Who knows how near my end is to me?), for the 16th Sunday after Trinity 1726.
Bach adapted Kuhnau’s Tristis est anima mea into Der Gerechte kömmt um, to which Bach added orchestration