Antonio Caldara
bearbeitet von Johann Sebastian Bach, enthält BWV 1082
bearbeitet von Johann Sebastian Bach, enthält BWV 1082
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Antonio Caldara
bearbeitet von Johann Sebastian Bach, enthält BWV 1082
bearbeitet von Johann Sebastian Bach, enthält BWV 1082
- Instrumentation 4 Soloists (SATB), Mixed Choir (SATB), 2 Flutes, 2 Oboes, 2 Oboes d'Amore, 2 Violins, Viola and 2 Viole da Gamba
- Composer Antonio Caldara
- Editor Johann Sebastian Bach
- Editor Wolfgang Hochstein
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Difficulty Level
- Edition Director's Score
- Publisher Carus-Verlag
- Order no. CV35014-00
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Description:
Johann Sebastian Bach appreciated the fine compositions of other masters, as evidenced by contemporary accounts and the surviving remnants of his music library. However, the copies he made for performances show that he regularly made creative alterations here and there. Often, the works simply had to be adapted to the circumstances at hand—a practice that was absolutely common at the time. Bach’s engagement with the work of his contemporary Antonio Caldara is well known—and here, too, Bach took up the pen himself. The new Carus edition of Caldara’s magnificent "Magnificat" brings together both versions in a single volume for the first time: the original by the Viennese court composer and Bach’s version, including his arrangement of the movement "Suscepit Israel," which was included in the Bach Works Catalog as BWV 1082. The "Magnificat" was composed as part of Caldara’s official duties in Vienna and captivates with its magnificent, festive instrumentation. In four artfully crafted movements, Caldara displays his compositional mastery in both the modern, concertante style and the traditional stile antico. Around 1740–42, Bach personally produced a hand-copied score of this "Magnificat." The most significant alteration occurs in "Suscepit Israel." Bach added two obbligato violin parts and enriched the contrapuntal structure with artfully incorporated suspended dissonances. Wolfgang Hochstein’s modern Urtext edition makes both versions accessible for musical performance. Through skillful use of diacritical markings, the differences in the musical text are immediately apparent. A fascinating insight into Bach’s working methods!