{"id":6624,"date":"2018-09-23T10:09:08","date_gmt":"2018-09-23T08:09:08","guid":{"rendered":"http:\/\/partitura.org\/?p=6624"},"modified":"2021-02-27T15:32:19","modified_gmt":"2021-02-27T13:32:19","slug":"johann-michael-bach-warum-betrubst-du-dich-mein-herz","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/johann-michael-bach-warum-betrubst-du-dich-mein-herz\/","title":{"rendered":"Johann Michael Bach, Warum betr\u00fcbst du dich, mein Herz"},"content":{"rendered":"<p>Neumeister&#8217;s transcription of Bach&#8217;s prelude to &#8220;Warum betr\u00fcbst du dich mein Herz&#8221; gives again many reasons to doubt the correctness of his transcriptions. Some of the notes seem wrong and though the pieces starts of as a four part piece, from bar 9 onwards one of the voices disappears. Did Neumeister omit one of the voices to make the piece more easily playable, or did Bach write it this way? Most of the time Bach writes his parts very stricly, and a four part piece stays a four part piece. We&#8217;ll probably never now. I did take the liberty to correct the notes that are wrong in my opinion, I did not however try to restore a missing voice. As usual, all editorial decisions are indicated in the score. <\/p>\n<p>The recording was done with the sample set of the Silbermann organ of the <a href=\"http:\/\/www.prospectum.com\/index.php?language=english&amp;id1=2&amp;id2=8\">Stadtkirche Z\u00f6blitz<\/a> by Prospectum.<\/p>\n<p><strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2018\/09\/Bach-Warum-betrubst-du-dich-mein-Herz.pdf\"data-kccpid=\"6624\">Bach, Warum betrubst du dich, mein Herz<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/KsTgL_Gv-_c\"  width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 19<\/p>","protected":false},"excerpt":{"rendered":"<p>Neumeister&#8217;s transcription of Bach&#8217;s prelude to &#8220;Warum betr\u00fcbst du dich mein Herz&#8221; gives again many reasons to doubt the correctness of his transcriptions. Some of the notes seem wrong and though the pieces starts of as a four part piece, from bar 9 onwards one of the voices disappears. Did Neumeister omit one of the voices to make the piece more easily playable, or did Bach write it this way? Most of the time Bach writes his parts very stricly, and a four part piece stays a four part piece. We&#8217;ll probably never now. I did take the liberty to correct the notes that are wrong in my opinion, I did not however try to restore a missing voice. As usual, all editorial decisions are indicated in the score. The recording was done with the sample set of the Silbermann organ of the Stadtkirche Z\u00f6blitz by Prospectum. Score Bach, Warum betrubst du dich, mein Herz Performance Views: 19<\/p>\n","protected":false},"author":1,"featured_media":6626,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[32,7],"tags":[],"class_list":["post-6624","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bach-johann-michael","category-scores","genre-choral-prelude","genre-warum-beubst-du-dich-mein-herz"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2018\/09\/Bach-Warum-betr%C3%BCbst-du-dich-mein-Herz.png?fit=961%2C614&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-1IQ","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/6624","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=6624"}],"version-history":[{"count":3,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/6624\/revisions"}],"predecessor-version":[{"id":9300,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/6624\/revisions\/9300"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/6626"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=6624"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=6624"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=6624"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}