Manuscript facsimiles (autographs & copyist manuscripts), facsimiles
of first editions & primary sources, and a selection of research material.
For ordering information
! —our subject catalogs now give you different viewing options—just click the
version you want :
recent, last 10 years
• complete Bach
BACH, Johann Sebastian, 1685-1750 [Cantata 9] “Es ist das Heil uns kommen her” BWV 9. Kantate zum 6. Sonntag nach Trinitatis. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington, D.C. = Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung von Daniel Boomhower.
Meisterwerke der Musik im Faksimile,40. Laaber, 2015. 21 x 33 cm, 16, 18 pp. Color halftone of the beautifully preserved autograph score composed most likely between 1734-1735. Scored for solo SATB, SATB chorus, vln I-II, vla, trav. fl, ob d’amore, bc. Introduction in Ger-Eng. Hardbound with decorative paper boards. $89 (more info... ) [item no.9448]
[Cantata 10] “Meine Seel’ erhebt den Herren!” BWV 10. Kantate zum Fest Mariae Heimsuchung. Faksimile nach dem Autograph aus der Gertrude Whittall Foundation Collection in der Musikabteilung der Library of Congress, Washington, D.C. = Facsimile of the Autograph from the Gertrude Whittall Foundation Collection in the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung von Daniel Boomhower.
Meisterwerke der Musik im Faksimile,41. Laaber, 2015. 21 x 33 cm. xvi, 24 pp. Color halftone of the autograph score composed for the Feast of the Visitation of Mary. Introduction in Ger-Eng. Scored for solo SATB, SATB chorus, vln I-II, vla, tpt, 2 ob, bc. Hardbound with decorative paper boards. $99 (more info... ) [item no.9449]
[Oratorio, BVW 11] Himmelfahrtsoratorium [“Lobet Gott in seinen Reichen”]. Oratorio Festo Ascensionis Christi BWV 11. Faksimile nach dem Partiturautograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit Einführungen von Martin Petzold und Peter Wollny. Festgabe anlässlich des Jubiläums 100 Jahre Bachhaus Eisenach Museum der Neuen Bachgesellschaft e.V.
Stuttgart, 2007. 22 x 32 cm, viii, 34 pp. 4-color facsimile of the elegant autograph score, reproduced in the original loose bi-folio format. The Ascension Day Oratorio's festive orchestration calls for solo SATB, SATB chorus, 3 trumpets, timpani, flutes, oboes, violins, viola, & bc. Although it was first performed on May 19, 1735 for Ascension Day, according to indications in the autograph it is actually a copy of the score of the composer’s inauguration piece of 1732 (or name-day cantata of 1733) with new underlayed text. The work bears striking similarities with the Christmas Oratorio (BWV 248), completed only six months earlier. Introduction in Ger-Eng-Fr. Issued on the occasion of the 100th anniversary of the founding of the Bachhaus Eisenach Museum of the Neue Bachgesellschaft. Portfolio. $106 (more info... ) [item no.8831]
[Cantata, 33] “Allein zu Dir, Herr Jesu Christ” BWV 33. Cantata for the 13th Sunday after Trinity. Commentary by Christoph Wolff and Peter Wollny.
Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 5. Kassel/Leipzig, 2010. 4°, 24, 50, 16, 16 pp. Color facsimile of the autograph score, original performing materials and original libretto. Cantata 33 belongs among the unique annual cycle of chorale cantatas composed by Bach in 1724-25, the second year of his Leipzig tenure. The cantata counts among the very few works where all the relevant source materials for the first performance have been preserved—yet dispersed throughout the world: the composing score is kept at the Scheide Library in Princeton, the vocal-instrumental performing parts at the Bach-Archiv in Leipzig, and the original libretto at the Russian National Library in St. Petersburg. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Commentary in Eng-Ger. Limited edition. Boxed set. $429 (more info... ) [item no.9147]
[Mass, b minor, BWV 232] Messe in h-moll BWV 232. Mit Sanctus in D-Dur (1724) BWV 232(iii). Autograph Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kommentar von Christoph Wolff.
Kassel, 2011. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger-Jap. Brown linen boards. $399 (more info... ) [item no.9222]
[St. Matthew’s Passion, BWV 244] Matthäus-Passion BWV 244. Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann. Preface by / Geleitwort von Barbara Schneider-Kemf.
Documenta Musicologica, II/47. Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger. Limited bibliophile edition with binding with leather spine and boards in decorative paper. $419 (more info... ) [item no.9327]
[Christmas Oratorio, BWV 248, libretto] Oratorium, welches die heilige Weyhnacht über in beiden Haupt-Kirchen zu Leipzig musiciret wurde. Anno 1734.
Stuttgart, 2009. 30 pp. Facsimile of the 1734 libretto. $10 [item no.9258]
[Sacred aria, soprano, strings, bc, BWV 1127] “Alles mit Gott und nichts ohn’ ihn” BWV 1127. Einleitung von Michael Maul. Geleitwort von Christopf Wolff. [Herzogin Anna Amalia Bibliothek, Weimar].
Documenta Musicologica, II/33 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge). Kassel, 2005. 4°, 8, 15 pp + audio CD. Color halftone facsimile of the autograph manuscript rediscovered in May 2005 in Weimar. The aria, consisting of 12 verses, was composed in 1713 to celebrate the 53rd birthday of Duke Wilhelm Ernst of Saxe-Weimar. Together with CD containing the world premiere recording with soprano Elin Manahan Thomas and the English Baroque Soloists conducted by Sir John Eliot Gardiner. Afterword in Ger-Eng. Decorative marbled paper coverboards with pasted title etiquette and red linen spine. $70 (more info... ) [item no.8629]
[Sacred aria, soprano, strings, bc, BWV 1127] “Alles mit Gott und nichts ohn’ ihn” BWV 1127. Aria for Soprano, Two Violins, Viola and Continuo, BWV 1127. First Edition Edited by Michael Maul.
Kassel, 2005. 4°, viii, 4, i pp. Halftone facsimile, (B/W) of the autograph manuscript rediscovered in May 2005 in Weimar. The aria, consisting of 12 verses, was composed in 1713 to celebrate the 53rd birthday of Duke Wilhelm Ernst of Saxe-Weimar. Together with new performing edition. Wrappers. $23 [item no.8612]
[Art of Fugue, BWV 1080, 1st ed.] Die Kunst der Fuge [BWV 1080]. [Library of Congress, Washington, D.C.].
Performers’ Facsimiles, 289. New York, . Oblong, 41 x 26 cm, 72 pp. Line-cut of the Leipzig, 1751/1752 edition. Wrappers. $30 [item no.9102]
[Chorales, organ, BWV 651-668, 660a, 769] Die Achtzehn Grossen Orgelchoräle BWV 651-668 und Canonische Veränderungen über “Vom Himmel Hoch” BWV 769. Faksimile der Originalhandschrift mit einem Vorwart herausgegeben von Peter Wollny. [Staatsbibliothek, Berlin, Bach P. 271].
Meisterwerke der Musik im Faksimile, 5. Laaber, 2/ 2015. 4º, xix, 54 pp. Fine color reproduction of the autograph score (the second part of MS P 271. Includes the 18 Great “great” (Leipzig) organ chorales, plus “Vom Himmel Hoch” (S.769) and “Nun komm, der Heiden Heiland” (S.660a). Introduction in Ger-Eng. Hardbound. $118 (more info... ) [item no.7720]
[Musical Offering, BWV 1079] Musikalisches Opfer / Musical Offering (Musical Sacrifice). BWV 1079. Score Based on Bach’s First Edition of 1747 with Inserted Facsimile. Edited by Hans-Eberhard Dentler with a Note by Alberto Basso.
Musica Humana, Faszikel 1. Mainz, 2012. 25 x 33 cm, 53, 113, 38 pp. Modern edition in score format with facsimile supplement reproducing the 1747 edition of the instrumental parts. “Regis iussu cantio et reliqua canonica arte resoluta” is Bach’s famous collection of canons and fugues based on a musical theme given to him by Frederick the Great, to whom they are dedicated. The work has its roots in a meeting on May 7, 1747 at the King’s residence in Potsdam, where Carl Philipp Emanual was employed as a court musician. The work comprises 2 ricercars, one a6 and one a3, 10 canons, and a “sonata sopr’li soggetto Reale”, a trio sonata in 4 movements featuring the flute, one of the instruments Frederick played. Introduction and critical notes in Ger-Eng-Fr. Handsome binding in red linen with gold title. $171 (more info... ) [item no.9321]
Orgelbüchlein BWV 599-644. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einer Einführung von Sven Hiemke. [Signatur Mus. ms. autogr. Bach P 283].
Meisterwerke der Musik im Faksimile, 6. Laaber, 2004. Oblong, 20 x 17 cm, xxix, 188 pp. New full-color reproduction of the autograph. The Orgelbüchlein represents the most important and comprehensive chorale collection in the organ repertory. Codicologically the manuscript (a torso) tells us a lot about the developmental process of the collection and suggests that Bach had been compiling the Orgelbüchlein over several years. Although an anthology of 164 chorale arrangements was intended, only about one third that amount was actually copied. Nearly all of these originate from the Weimar period (1708-1717). Introduction in Ger-Eng, with a table showing the chronology and development of the collection. Hardbound, with handsome boards in decorative blue paper. $179 (more info... ) [item no.8408]
[Organ transcriptions] Weimarer Orgeltablatur. Die frühesten Notenhandschriften Johann Sebastian Bach sowie Abschriften seines Schülers Johann Martin Schubart. Mit Werken von Dietrich Buxtehude, Johann Adam Reinken und Johann Pachelbel. Vorwort und Übertragung herausgegeben von Michael Maul und Peter Wollny.
Documenta Musicologica, II/39 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 3]. Kassel, 2007. 23 x 30 cm, xxxv, 48 pp; 18 pp. Recently rediscovered manuscript in the Herzogin Anna Amalia Bibliothek, Kassel consisting of four fascicles notated in organ tabulature: I) Johann Adam Reinken, “An Wasserflüssen Babylon”; II) Dietrich Buxtehude, “Nun freut euch lieben Christen g’mein”; III) Johann Pachelbel, “An Wasserflüssen Babylon”; IV) Johann Pachelbel, “Kyrie Gott Vater in Ewigkeit” + Fuga. The Bach portion of this rare source—fascicles I & II—has been dated c.1700, making it the earliest testimony we have of the master’s autograph. The colophon at the end of fascicle I conveys, for the first time, specific information underscoring the significance of Bach’s stay in Lüneburg for the transmission of North German organ music in Thuringia. Preface in Ger-Eng, together with new critical edition. Wrappers/portfolios, in box. $129 [item no.8797]
[Prelude & fugue, organ, BWV 552, Eb major] Präludium und Fuge Es-Dur BWV 552 aus dem 3. Teil der “Klavierübung”. Faksimile des Originaldrucks von 1739 herausgegeben und mit einer Einführung von Matthias Geuting.
Meisterwerke der Musik im Faksimile, 13. Laaber, 2008. Oblong, 4°. xii, 18 pp. New line-cut facsimile, of the first edition published in Leipzig in 1739. Bibliophile edition with commentary in Ger-Eng. Hardbound, with red paper boards and faux title etikette. $72 (more info... ) [item no.9072]
Sonatas, viola da gamba solo, BWV 1027-1029] Drei Sonaten für Viola da Gamba solo und obligates Cembalo, BWV 1027–29. Faksimile herausgegeben von Hille Perl. In Zusammenarbeit mit der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz.
Magdeburg, 2014. 22 x 34 cm, v, 44 pp. 4-color facsimile of the manuscript sources. Only BWV 1027—with title page “Sonata à Cembalo è Viola da Gamba”—has been preserved in Bach’s autograph. Wrappers. $44 (more info... ) [item no.9370]
[Sonatas & partitas, violin, BWV 1001-1006] Sei solo a violino senza basso accompagnato, BWV 1001-1006. Faksimile nach der autographen Handschrift in der Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. Mit einem Geleitwort von Julia Fischer herausgegeben und mit einer Einführung von Sven Hiemke. [Signatur ms. aut. Bach P. 967].
Meisterwerke der Musik im Faksimile, 8. Laaber, 2/ 2015. 21 x 33 cm, 19, 48 pp. New full-color facsimile, in the original format, of the autograph score prepared in 1720. One of the most beautiful and meticulous of all of Bach's manuscripts, “Sei solo à violino senza basso accompagnato” are a delight for the scholar and perfomer alike. Bach clearly has taken performance from the autograph into consideration—by using comparatively large note heads, detailed articulation and phrasing marks, "custodes" that sit nearly throughout the manuscript at the end of each staff and anticipate the pitch at the beginning of the following staff, and by diligently planning the page layout with only few page turns, which are accompanied with the instruction "volti subito" (turn immediately). Bibliophile edition with commentary in Ger-Eng. Hardbound with blue paper boards and faux title etikett. $99 (more info... ) [item no.8624]
[Sonatas & partitas, violin, BWV 1001-1006] Sonatas & Partitas for Solo Violin BWV 1001-1006. A New Bach Series. Transcribed for Guitar by Walter Dešpalj. Fingering by István Römer.
Heidelberg, 2005. 4°, 123, 21 pp. Line-cut in reduced format (2 up per page) of the autograph ms, together with complete transcription for guitar. Wrappers. $40 [item no.9084]
[Suites, violoncello, BWV 1007-1012] Six Solos [ou Etudes] pour le Violoncelle. [Ouvrage posthume de J.S. Bach avec le doigter et les coups d’archet indiqués par J.J.F. Dotzauer]. Leipzig, Breitkopf und Härtel. [Bibliothek der Musik- och teaterbiblioteket Stockholm].
Faksimile-Edition Viola da Gambe, 2. Stuttgart, 2014. 26 x 34 cm, 29 pp. Line-cut of the Leipzig  edition. considered the first detailed performing edition of the suites. Justus Johann Friedrich Dotzauer (1783-1860), the editor of this edition, successfully combined a concert and teaching career, with long stints with the Gewandhaus Orchestra and the Dresden Chapel, and played under Carl Maria von Weber and Richard Wagner. He spoke of the importance of musical taste based on simplicity. Wrappers. $36 [item no.9374]
[WTC I, keyboard, BWV 846-869] The Well-Tempered Clavier. Part I, BWV 846-869. Facsimile of the Autograph Manuscript in the Staatsbibliothek zu Berlin—Preussischer Kulturbesitz. Commentary by Christoph Wolff and Martina Rebmann.
Documenta Musicologica, II/50. Kassel, 2015. 20 x 32 cm, xxx, 90 pp. Deluxe 4-color facsimile of the autograph score based on newly commissioned photographs. The preludes and fugues of The Well-Tempered Clavier embrace an entire cosmos of compositional devices and musical characters—the ne plus ultra of ‘unity through diversity’. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history. The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. Bach authority Christoph Wolff provides a commentary to the work’s genesis and the characteristics of Bach’s handwriting. Martina Rebmann (Staatsbibliothek Berlin) describes the subsequent history of the autograph. Afterword in Eng-Ger. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. A note on the MS and its facsimiles: Previous facsimile editions (1962-1989) exhibit on some pages a "screen" effect, the result of a silk chiffon overlay that curators applied to Bach's MS to prevent crumbling of the paper. Curators discovered that the chiffon was actually damaging the paper more, so in the early 80s the original MS was withdrawn from public view. To finally solve the problem of deterioration—much of it due to the corrosive quality of the ink—curators turned to a method called "paper splitting", where front and reverse side of each leaf is split, and an alkali-buffered paper laid in between; during the process imperfections in the leaves are repaired with the finest cellulose fibers. The leaf is also treated with a chemical to stop the process of corrosion; in the end the damaging silk chiffon could be completely removed. This new facsimile edition presents the MS—for the first time—in its post-restoration state, without silk chiffon, significantly improving the vividness of Bach's handwriting, a true joy for Bach lovers. $343 (more info... ) [item no.9413]
[WTC I, piano, BWV 846-869, Richault edition, annotated by F. Chopin] Vingt-quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger.
Publications de la Société Française de Musicologie, I/28. Paris, 2010. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Temperedocument published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was d Clavier in Chopin's teaching has been known on the basis of literary sources. The brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. (more info... ) [item no.9166]
Johann Sebastian Bach. Vier Zeugnisse für Präfekten des Thomanerchores 1743-1749. Faksimile und Transkription herausgegben von / Edited by Andreas Glöckner.
Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 4. Kassel, 2009. 20 x 31 cm, 16 pp. Color reproductions of 4 documents written by Johann Sebastian Bach on behalf of applicants for the “Stipendium Hammerianum”, a scholarship fund established some 150 years earlier by the Austrian physician Dr. Matern Hammer. In his will, the donor stipulated that the cities of Leipzig and Steyr each were to receive from his estate an endowment to benefit two students from each city. Notes in Ger-Eng. Wrappers. $39 [item no.9103]
Kobayashi, Yoshitake & Kirsten Beisswenger. Die Kopisten Johann Sebastian Bachs. Katalog und Dokumentation von Yoshitake Kobayashi und Kirsten Beisswenger. [I] Texband;  Abbildungen.
Neue Ausgabe sämtlicher Werke, IX/3. Kassel, 2007. 26 x 33 cm, 2 vols, xxiv, 243; vii, 379 pp. A careful and detailed study and catalog of all the copyists of J.S. Bach’s, together with a volume devoted to halftone reproductions that includes altogether 259 MS examples. An indispensable resource for Bach manuscript study. Linen. $496 [item no.8973]
Prinz, Ulrich. Johann Sebastian Bachs Instrumentarium. Originalquellen, Besetzung, Verwendung. Ulrich Prinz.
Schriftenreihe, 10. Kassel, 2005. 15 x 24 cm, 701 pp. Detailed study of 5 authentic Bach portraits, together with 18 halftone reproductions. Wrappers. $71 [item no.6558]
Wollny, Peter. Generalbass- und Satzlehre, Kontrapunktstudien, Skizzen und Entwürfe. Herausgegeben von Peter Wollny. Anhang: Aria “Alles mit Gott und nichts ohn’ ihn” BWV 1127. Herausgegeben von Michael Maul.
Neue Ausgabe Sämtlicher Werke, Supplement. Kassel, 2011. 22 x 30 cm, 250 pp (incl. 77 facsimiles). Comprehensive study of Bach’s basso continue practice, documented with full-color reproductions from autograph manuscripts and sketches. Consists of teaching documents in figured bass and counterpoint, and sketches & fragments found in autograph full scores, all accompanied by modern transcriptions. Linen. $334 (more info... ) [item no.9278]