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Alles mit Gott und nichts ohn ihn BWV 1127

First Edition

By Johann Sebastian Bach

Solo soprano voice, strings (Soprano solo, Strings)
First Edition. Composed by Johann Sebastian Bach (1685-1750). Edited by Michael Maul. This edition: urtext edition. Stapled. Barenreiter Urtext. Score. BWV 1127. Baerenreiter Verlag #BA05246. Published by Baerenreiter Verlag (BA.BA05246).

Item Number: BA.BA05246

ISBN 9790006530625. 31 x 24.2 cm inches.

In May 2005 the Leipzig-based musicologist Michael Maul made a sensational discovery in Weimar . While sifting through the Herzogin Anna Amalia library he unearthed the manuscript of a sacred aria by Johann Sebastian Bach which was previously completely unknown.

It is the first time since 1935 that a new Bach vocal work has been discovered. The aria consisting of twelve verses is written for solo soprano, strings and basso continuo and opens with the words “ Alles mit Gott und nichts ohn ’ ihn ”. It was composed in 1713 to celebrate the 53rd birthday of Duke Wilhelm Ernst of Saxe-Weimar who employed Bach as court organist from 1708 until 1717.

This vocal work is Bach’s sole contribution to the genre of strophic aria. Each verse is accompanied by basso continuo and followed by a lively string ritornello , making this work a pièce d’occasion of exquisite quality.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?

- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding


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  • Ratings + Reviews

  • 5

    Joshua Rosenschein
    Jerusalem, Israel
    Difficulty Level:
  • March 24, 2009 Into the composer's mind...

    Upon opening this small volume I encountered some four or five pages of commentary and introduction, one of the text of the aria, one page of Bach's manuscript facsimile, and three of the actual music. But all these are necessary for the aspiring musician and the curious reader alike...

    . One sees such a clear picture of the creative process which is so rarely revealed to non-musicians (or even to some composers). There is no more valuable record of such a process, and it is fitting that Bach credited God for the most part of that process (as the title would suggest). This piece is a must-have.

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