Matthew Passion. In the 1840s a piano reduction by Robert Franz of Bach's D major version of the Magnificat appeared. In 1862 the orchestral and vocal score was published in Volume 11/1 of the Bach-Gesellschaft edition. The same edition printed the Christmas interpolations for the first time. A year later Robert Franz complained the composition had still received too little attention from music critics and so remained virtually unknown to the general public. A year later he published the D major version of the Magnificat with an orchestral score in line with 19th century performance practice, for example expanding the "organ and continuo" single stave with annotated bass from the autograph and the Bach-edition into several separate staves for organ, bassoon and celli. Novello printed an Octavo edition of the D major Magnificat in 1874, using a translation to English which John Troutbeck based on the text in The Book of Common Prayer. In 1880, when Bach's autographs of the composition were already kept in the Royal Library (later State Library) of Berlin, Philipp Spitta devoted many pages to the Magnificat in his Bach-biography, considering it recognized as one of the greatest achievements of the composer's genius. Bach's Magnificat was performed several times in the last quarter of the 19th century, for instance in Germany and the Netherlands. 20th century In 1924 Arnold Schering edited the full orchestral score of the D major version of Bach's Magnificat for publication by Ernst Eulenburg and Edition Peters. Performances of the Magnificat by, among others, Serge Koussevitzky and the Boston Symphony Orchestra were recorded in the 1940s and appeared on 78 rpm records. LP recordings of the early 1950s included live performances of the Magnificat directed by Otto Klemperer and by Herbert von Karajan, the last one with Elisabeth Schwarzkopf as soprano. The Neue Bach Ausgabe published Bach's Magnificat (both BWV 243.1 and BWV 243.2) in 1955, edited by Alfred Dürr. This Urtext score was reused in several ensuing publications by Bärenreiter, among which several with an English translation. More recordings of the Magnificat became available, for instance directed by Kurt Redel, Leonard Bernstein, Karl Richter and Karl Ristenpart. The second half of the 1960s saw the first recordings of the Christmas version of the Magnificat BWV 243.1 including the laudes, and new recordings of the D major version by von Karajan, Karl Münchinger and Daniel Barenboim. The earliest LP-releases that contained the