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Bach's Oratorios: The Parallel German-English Texts with Annotations Hardcover – 25 Sep 2008


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Product details

  • Hardcover: 200 pages
  • Publisher: OUP USA (25 Sept. 2008)
  • Language: English
  • ISBN-10: 0195367170
  • ISBN-13: 978-0195367171
  • Product Dimensions: 23.6 x 1.8 x 16 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 407,464 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Product Description

About the Author

Michael Marissen is the Daniel Underhill Professor of Music History, Swarthmore College, and author of Lutheranism, Anti-Judaism, and Bach's St. John Passion (Oxford, 1998) and The Social and Religious Designs of J. S. Bach's Brandenburg Concertos (Princeton, 1995), co-author (with Daniel Melamed) of An Introduction to Bach Studies (Oxford, 1998), and Editor, Creative Responses to Bach from Mozart to Hindemith (Nebraska, 1998). He is frequently an invited lecturer to major performances of Bach and Handel (e.g. the NY Philharmonic, among others), and speaks about 20+ times per year at these oratorio concerts.

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Most Helpful Customer Reviews

By Plumtree on 20 Oct. 2013
Format: Hardcover Verified Purchase
This is a marvellous book on the texts of Bach's oratorios. It is presented both in the German and with the English translation with sufficient notes on the Lutheran bibilical text on which Bach based his works. I am so glad I bought it and know that it will give me pleasure for many years to come.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
Excellent and accurate translations 27 May 2014
By David F. Bridgman - Published on Amazon.com
Format: Hardcover Verified Purchase
Having parallel German-English texts allows a much better way of seeing how Bach shaped his music to the German biblical texts and the words of the German chorales. Most English texts (for example of the Passions), have awkward word order and selection in their attempt to suit the txt to the meter of the music. This seems to me to fill a real gap for the discerning listener and performer,
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