| Gustav Leonhardt | ... | Johann Sebastian Bach | |
| Christiane Lang | ... | Anna Magdalena Bach | |
| Paolo Carlini | ... | Hölzel | |
| Ernst Castelli | ... | Steger | |
| Hans-Peter Boye | ... | Born | |
| Joachim Wolff | ... | Rector | |
| Rainer Kirchner | ... | Superintendent | |
| Eckart Bruntjen | ... | Prefect Kittler | |
| Walter Peters | ... | Prefect Krause | |
| Kathrien Leonhard | ... | Catherina Dorothea Bach | |
| Anja Fahrmann | ... | Regine Susanna Bach | |
| Katja Drewanz | ... | Christine Sophie Henrietta Bach | |
| Bob van Asperen | ... | Johann Elias Bach | |
| Andreas Pangritz | ... | Wilhelm Friedemann Bach | |
| Bernd Weikl | ... | Singer in Cantata No. 205 | |
| Wolfgang Schöne | ... | Singer in Cantata No. 82 | |
| Karl-Heinz Lampe | ... | Singer in Cantata No. 42 | |
| Bernhard Wehle | ... | Treble Voice in Cantata No. 140 | |
| Christa Degler | ... | Anna Magdalena Bach in Cantata No. 244 (voice) | |
| Karl-Heinz Klein | ... | Bass Voice in Cantata No. 140 | |
| Nikolaus Harnoncourt | ... | Prince of Anhalt-Cöthen | |
| Hellmuth Costard | ... | Rector Ernesti |
Directed by | |||
| Danièle Huillet | |||
| Jean-Marie Straub | |||
Writing credits | ||
| Anna Magdalena Bach | (diary) | |
| Danièle Huillet | (adaptation) & | |
| Jean-Marie Straub | (adaptation) | |
Produced by | |||
| Gian Vittorio Baldi | .... | producer | |
| Danièle Huillet | .... | producer | |
| Franz Seitz | .... | producer | |
| Jean-Marie Straub | .... | producer | |
Cinematography by | |||
| Ugo Piccone | |||
Film Editing by | |||
| Danièle Huillet | |||
| Jean-Marie Straub | |||
Production Design by | |||
| Danièle Huillet | |||
Costume Design by | |||
| Vera Poggioni | |||
Makeup Department | |||
| Guerrino Todero | .... | hair stylist: periwegs | |
Production Management | |||
| Günther Maag | .... | unit manager | |
| Horst Winter | .... | unit manager | |
Sound Department | |||
| Louis Hochet | .... | sound | |
| Lucien Moreau | .... | sound | |
| Paul Schöler | .... | sound mixer | |
Camera and Electrical Department | |||
| Giovanni Canfarelli Modica | .... | assistant camera (as Giovanni Canfarelli) | |
| Saverio Diamante | .... | assistant camera (as Saverio Diamanti) | |
| Hans Eberle | .... | lighting technician | |
| Thomas Hartwig | .... | camera operator: trick camera | |
| Max Jörg | .... | lighting technician | |
| Hans Kracht | .... | assistant camera | |
| Uwe Radom | .... | assistant camera | |
Music Department | |||
| Johann Sebastian Bach | .... | composer: stock music | |
| Concentus Musicus Wien | .... | orchestra (as Concentus musicus, Ensemble für alte Musik Wien) | |
| Nikolaus Harnoncourt | .... | conductor: Concentus musicus, Ensemble für arte Musik Wien | |
| Heinz Hennig | .... | chorus master: Knabenchor Hannover | |
| Knabenchor Hannover | .... | chorus | |
| Gustav Leonhardt | .... | musician | |
| Leo Leonius | .... | composer: stock music | |
| Schola Cantrum Basiliensis | .... | musician | |
| Bernhard Wehle | .... | singing voice | |
| August Wenzinger | .... | conductor: Schola Cantorum Basiliensis | |
Other crew | |||
| Georg Föcking | .... | production assistant | |
| Aldo U. Passalacqua | .... | production assistant (as Aldo Passalacqua) | |
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| Walk the Line | Testimony | Je chanterai pour toi | Comedian Harmonists | Mahler |
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| Full cast and crew | Company credits | External reviews |
| IMDb Biography section | IMDb West Germany section | Add this title to MyMovies |
I'd like to offer a rebuttal to some of the negative comments about this movie. I, too, noticed the same things that turned off the others - the lack of typical plot, dialog, and drama. In fact, halfway through the movie, i was having a hard time staying focused. But then I started to get it. After the movie was over, I watched the "Making of..." documentary that was on the DVD. It was only then that I truly understood. The director Straub, a refugee from Algeria, living in Germany. A 10 year quest to make the movie. Everything was dogmatically intentional. He wanted the performances to be shown statically. He believed if one was to listen to a 7 minute piece of music, all the drama should be derived from the music, not the cinematic arts. All sound was location, the musicians are the highest caliber - everything played on screen. What movies today could boast of that? Also, he said he wanted it to be as much a documentary about the virtuoso Leonhardt who plays Bach, as it was about Bach. To him, a long shot on the face of the performer was all one needed to experience the ecstasy of Bach. Remember, too, this is 1967 Germany. He was trying to avoid all nationalism, and was glad to have a Dutchman play Bach. I think looking at this movie through the eyes of today's short attention-spanned, explosion thirsty movie-going POV is ignorant. I doubt many of those people could even sit through a 7 minute piece of music. Straub was 30 years ahead of his time. Anyone who appreciates the Dogma95 should understand. Finally, I see that he and his wife had been making movies together for over 40 years, until Danièle died last fall. My condolences, Mr. Straub. This is one person you have reached.