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  • Deep Dives
    • 2024-2025 Concerts >
      • William Byrd: Angelical and Divine
      • Heinrich Schütz: The Orpheus of the 17th Century
      • George Frideric Handel: Messiah
      • Samuel Scheidt: The Art of Variation
      • Ludwig Senfl: A Gifted Imagination
      • Claudio Monteverdi: A New Manner of Composing
      • J.S. Bach: Bach Around Thirty
    • Donate today!
  • Tickets
    • Tickets
    • Subscriptions
  • Who we are and What we do
    • Board of Directors and Staff
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Choir Resources
  • Contact
  • Join our Mailing List!
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
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