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.

Table of Contents:

Part 1: Self-Borrowings 1. Keyboard to Keyboard 2. Solo Instruments (non-keyboard) to Solo Instrument 3. Keyboard to Cantata 4. Solo Instrument (non-keyboard) to Cantata 5. Chamber Music to Cantata 6. Concerto or Concerto Grosso to Cantata 7. Suite or Orchestral Work (other than Brandenburg Concertos) to Cantata 8. Orchestral Work, Instrumental Concerto or Cantata to Concerto or Orchestral Work 9. Cantata or Oratorio to Cantata or Oratorio 10. Cantata etc to Work for Solo Instrument 11. Chamber Music to Chamber Music 12. Cantata etc to Chamber Music 13. Song, Aria, Motette or Mass to Cantata, Motette or Mass 14. Solo (Keyboard) Instrument to Instrumental Concerto Part 2: Borrowings from Others 1. Keyboard to Keyboard 2. Keyboard to Cantata or Aria 3. Concerto or Concerto Grosso to Concerto 4. Chamber Music or Concerto Grosso to Keyboard 5. Vocal Work to Cantata 6. Vocal Work to Keyboard.

Arts in general

Musicology in general and music history

Classical music

Sheet music, hymn books

Further readings in music

Arts in general (charity campaign)

Musicology in general and music history (charity campaign)

Classical music (charity campaign)

Sheet music, hymn books (charity campaign)

Further readings in music (charity campaign)

Bach The Borrower

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.