A Choral Worship Cantata in SATB with SATB Soli voicing, composed by Johann Sebastian Bach.

Originally published in 1967, in this book the author delves deeply into the fascinating field of Bach’s music and the reasons for his ‘borrowing’, and adaptation within his oeuvre. This book, scrupulously uncontroversial in its manner, contains evidence which upends many established judgements. Whether concerned with Bach’s artistic personality or with details of his performance, this voluminous record, with commentary, of his adaptations, recompositions or transcriptions is an essential work of reference. When it was first published much of the information on the Choralgesänge and the chorals contained in or intended for the Orgelbüchlein was available for the first time in English.

This book is the first to be dedicated to a study of the reception of a major European composer in Australia. Each of the eleven essays explores how J.S. Bach’s music has enriched Australian cultural life, from private performances in the early nineteenth century to historically informed realisations in recent years. The authors outline the challenges of mounting and sustaining this repertoire in the face of underdeveloped musical infrastructure and limited resources, and how these challenges have been overcome with determination and insight. Championed by imaginative individuals such as Ernest Wood and Leonard Fullard in Melbourne, E.H. Davies in Adelaide and W. Arundel Orchard in Sydney, Bach’s music has been a vehicle for the realisation of Australians’ cultural aspirations and a means of maintaining connections with traditions that continue to be cherished today.

Extensively revised with new material, the book also includes a study of Imogen Hoist's music and a chronological list of her works, revealing her as a composer of tremendous talent, whose music deserves to be much more familiar.

This is the second of a two-volume study of the music of Johann Sebastian Bach. Taking into account the vast increase in our knowledge of the composer due to the Bach scholarship of the last sixty years, Richard Jones presents a vivid and in some respects radically new picture of his creative development during the Cöthen (1717-23) and Leipzig years (1723-50). The approach is, as far as possible, chronological and analytical, but the author has also tried to make the book readable so that it may be accessible to music lovers and amateur performers as well as to students, scholars, and professional musicians. There are many good biographies of Bach, but this is the first, fully-comprehensive, in-depth study of his music making it indispensable for those who want to study specific pieces or learn how he developed as a composer.

Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.