![Bach, J.S. (1685-1750) [Becker, Carl Ferdinand (ed.)] Choräle mit bezifferten Bass von Johann Sebastian Bach herausgegeben von C. F. Becker. Organist an der St. Petri Kirche zu Leipzig. [als Anhang zu dessen Choralgesängen] [BWV 439-507]](http://www.schubertiademusic.com/cdn/shop/files/Bach_Chorale_9125_a.jpg?v=1722187645)
![Bach, J.S. (1685-1750) [Becker, Carl Ferdinand (ed.)] Choräle mit bezifferten Bass von Johann Sebastian Bach herausgegeben von C. F. Becker. Organist an der St. Petri Kirche zu Leipzig. [als Anhang zu dessen Choralgesängen] [BWV 439-507]](http://www.schubertiademusic.com/cdn/shop/files/Bach_Chorale_9125_b.jpg?v=1722187646)
Bach, J.S. (1685-1750) [Becker, Carl Ferdinand (ed.)]. Choräle mit bezifferten Bass von Johann Sebastian Bach herausgegeben von C. F. Becker. Organist an der St. Petri Kirche zu Leipzig. [als Anhang zu dessen Choralgesängen] [BWV 439-507]. Leipzig: Breitkopf & Härtel. [1832]. Title[1]; 2 (blank); dedication [3]; 4 (blank); forward [5]; index [6]; 7-39 pp. [PN] 5096. Green printed wrappers, chipped around the edges, reinforced with paper tape alog the spine, edges a little rough, slightly browned, generally very good. Worldcat records 11 copies worldwide, with only 1 in the United States.
The second edition of these 69 Chorales as a supplement to the full Breitkopf edition of 371, after the original 1736 revised printing, edited by Becker, organist at the church of St. Peter in Leipzig.
"As Leipzig organist and Bach maven Carl Ferdinand Becker observed in 1831, the Bach chorales were 'not really indended for the church.' Instead, they became the perfect material for musical study, first by private individuals and eventually by singing societies whose proliferation in the nineteenth century led to a very different kind of receiption." (Matthew Dirst, "Engaging Bach," p. 53)
The second edition of these 69 Chorales as a supplement to the full Breitkopf edition of 371, after the original 1736 revised printing, edited by Becker, organist at the church of St. Peter in Leipzig.
"As Leipzig organist and Bach maven Carl Ferdinand Becker observed in 1831, the Bach chorales were 'not really indended for the church.' Instead, they became the perfect material for musical study, first by private individuals and eventually by singing societies whose proliferation in the nineteenth century led to a very different kind of receiption." (Matthew Dirst, "Engaging Bach," p. 53)
Bach, J.S. (1685-1750) [Becker, Carl Ferdinand (ed.)]. Choräle mit bezifferten Bass von Johann Sebastian Bach herausgegeben von C. F. Becker. Organist an der St. Petri Kirche zu Leipzig. [als Anhang zu dessen Choralgesängen] [BWV 439-507]. Leipzig: Breitkopf & Härtel. [1832]. Title[1]; 2 (blank); dedication [3]; 4 (blank); forward [5]; index [6]; 7-39 pp. [PN] 5096. Green printed wrappers, chipped around the edges, reinforced with paper tape alog the spine, edges a little rough, slightly browned, generally very good. Worldcat records 11 copies worldwide, with only 1 in the United States.
The second edition of these 69 Chorales as a supplement to the full Breitkopf edition of 371, after the original 1736 revised printing, edited by Becker, organist at the church of St. Peter in Leipzig.
"As Leipzig organist and Bach maven Carl Ferdinand Becker observed in 1831, the Bach chorales were 'not really indended for the church.' Instead, they became the perfect material for musical study, first by private individuals and eventually by singing societies whose proliferation in the nineteenth century led to a very different kind of receiption." (Matthew Dirst, "Engaging Bach," p. 53)
The second edition of these 69 Chorales as a supplement to the full Breitkopf edition of 371, after the original 1736 revised printing, edited by Becker, organist at the church of St. Peter in Leipzig.
"As Leipzig organist and Bach maven Carl Ferdinand Becker observed in 1831, the Bach chorales were 'not really indended for the church.' Instead, they became the perfect material for musical study, first by private individuals and eventually by singing societies whose proliferation in the nineteenth century led to a very different kind of receiption." (Matthew Dirst, "Engaging Bach," p. 53)